r 


ART  COLLECTION 


MINNEAPOLIS 
PUBLIC  LIBRARY 


CATALOGUE 

OF 

Paintings  and  Sculpture 

PLACED  IN  THE 

Minneapolis  Public  Library 

BY 

Thomas  Walker 

WITH 

Appendix  giving  List  and  Description 
of  Paintings  and  Sculpture  Loaned 
and  Presented  by  Others. 

@ 
1909 


Don  S.  de  Rlcci 


ARTISTS  REPRESENTED. 


ACHENBACH,  Andreas,  1. 
ANDERS,  E.,  2. 

BAROCCIO,  Fredrigo,  3. 
BELLOWS,  Albert  F.,  4. 
BONHEUR,   Rosa   (Marie),  5. 
B0NIFA:^I0,  Vervinese,  6. 
BOSTON,  J.  H.,  7. 
BROWN,  J.  G.,  8. 
BOTTICELLI,  Alessandro  F.,  9. 
BOUGUEREAU,  Wm.  Adolph,  10. 
BUSSON,  Charles,  11. 
BOGERT,  George  H.,  12. 

CANALETTO  (Antonio  Canal),  13. 

CHARLIER,  P.,  14. 

GLAUS,  EMIL,  15. 

CHAIGNEAU,  Ferdinand,  16. 

CROME,  John,  17. 

COMMAS,  Pierre  Oliver  Joseph,  18. 

CORREGGIO,  Antonio  Allegri,  19. 

COYPEL,  Antoine,  20. 

COROT,  Jean  Baptiste  Camille,  21. 

CONSTABLE,  John,  22,  23. 

DAVID,  Jacquis  Louis,  24. 
DAHL,  Hans,  25. 
DELPY,  Camille  Hyppolyte,  26. 
DOBSON,  William,  27. 
DUPRE,  Jules,  28. 

ERNST,  Rudolph,  29. 

FAULKNER,  Herbert  W.,  30. 
FERRIER,  J.  M.  A.  Gabriel,  31. 
FOSCARI,  A.,  32. 

GIGNOUX,  Regis,  33. 
GAINSBOROUGH,  Thomas,  34. 

HAAS,  J.  H.  L.  de,  35. 
HAMILTON,  James,  36. 
HART,  James  McDougal,  37. 
HIGHMORE,  Joseph,  38. 


INNESS,  George,  39. 
INNESS,  George,  Jr.,  40,  41. 

JACQUE,  Charles  Emil,  42. 
JAZET,  Paul  Leon,  43. 
JOHNSON,    David,  44. 

KALBACH,  Wilhelm  von,  45. 
KNELLER,  Godfroid,  46,  47. 

LAWRENCE,  Sir  Thomas,  48. 
LELY,  Sir  Peter,  49,  50. 
LEFEVRE,  Robert,  51,  52. 
LEVERIDGE,  Clinton,  53. 
LEROLLE,  Henri,  54. 
LE  BRUN  (Charles),  55. 
LINGELBACH,  Johannes,  56. 
LORRAINE,  Claude,  57. 

MICHEL,  Georges,  58. 
MILLONE,  A.,  59. 
MINOR,  Robert  C,  60. 
MORAN,  Thomas,  61. 
MONTICELLI,  Adolphe,  62. 
MURELLO  (Bartholeme  Esteban),  63. 

OPIE,  John,  64. 

PLASSAN,  Antoine  E.,  65. 
PHILIPPOTEAU   (Paul),  66. 

POOLE,  Paul  Falooner,  67. 
RAVENSTEYN,  Jan  Van,  68. 
RIBALTA,  Jaun  de,  69. 
RIBERA,  Josef  de,  70,  71. 
RICHET,  Leon,  72. 
RITZBERGER,  Albert,  73. 
ROMNEY,  Geo.,  74. 

SCHENCK,  August  F.,  75. 
SCHENDEL,  Petrus  Van,  76. 
SMITH,  H.  P.,  77. 
SMITH,  F.  Carl,  78. 
SCHUCH,  Werner  H.  G.,  79. 
SCHUSSELLE,  E.,  80. 


TAIT,  Arthur  F.,  81. 

THORPE,  82. 

TURNER,  J.  M.  W.,  83. 

VAN    DYCK,    SIR    ANTHONY,  84, 
85,  86. 

VERNET,  Claude  Joseph,  87. 
VERONESE,   Paolo,  88. 
VUILLEFROY,   Dominique  Felix,  89. 


WART,  A.  Van,  90. 
WEBBER,   John,  91. 
WEST,  Benjamin,  92. 
WESTERBEEK,  C,  9.3. 
WILSON,   Richard,  94. 

ZAMPIGHI,   E.,  95. 
ZEIM,  Felix,  96. 


ADENDA. 


AAGAARD,  C.  T., 

A 

JACOMIN,  M., 

I 

ACTON  (J.  Adams,  R.  A.), 

B 

KOEHLER,  Robert, 

J 

BIERSTADT,  Albert, 

C 

BOHN,  Max, 

D 

NEUVILLE,   A.  de. 

K 

COURTOIS,  G., 

E 

PASINI,  Albert, 

L 

FOURNIER,  Alexis  J., 

F 

WALLANDER,  A., 

M 

GARDNER,  Elizabeth, 

G 

WAGNER,  Alexander 

N 

GUILLON,  Albert, 

H 

WITT,  J.  H., 

0 

ACHENBACH  (Andreas). 

Born  at  Cassel,  Hesse  Cassel,  1815. 
Pupil  of  Dusseldorf  Academy,  1827-1835. 

Medals,   1859.     Medal  1st  class,  Exposition  Universelle, 
1855.    Legion  of  Honor,  1864. 
Great  Gould  Medal,  1850.    Medals  at  Vienna,  Prussia, 
Austria,  Belgium  and  Centennial  Exposition. 
Professor  in  Academy,  of  Fine  Arts  at  Diisseldorf,  Berlin, 
Amsterdam  and  Antwerp. 
Chevalier  of  the  Order  of  the  Red  Eagle  of  Prussia. 
Chevalier  of  the  Order  of  St.  George  of  Russia. 
Chevalier  of  the  Order  of  Leopold  of  Belgium. 
Works  in  galleries  of  Berlin,  Munich,  Frankfort,  Darm- 
stadt, Carlsruhe,  Dusseldorf  and  in  many  private 
collections  in  Europe. 

"The  tendency  of  Achenbach's  genius  is  realistic  in  the 
highest  and  best  sense  of  the  word.  In  his  manipulation 
as.  regards  the  quality  and  texture  of  various  materials,  he 
is  eminently  successful,  discriminating  all  to  the  exact  point 
of  requirements,  yet  without  the  slightest  tendenc}^  to  elab- 
orate trifling;  the  general  effect  prevailing  over  all  mi- 
nuteness and  elegance  of  detail,  being  that  of  a  bold  and 
free  handling." 

— Henry  Otterly. 

"The  brothers  Andreas  and  Oswald  Achenbach  take  the 
lead  among  the  living  landscape  painters  of  Dusseldorf." 

— Atkinson. 

"One  of  the  most  distinguished  painters  of  the  Diissel- 
dorf school.    His  early  views  of  the  Rhine  country  are 


6 


T.  B.  WALKER  COLLECTION. 


fresh  and  individual.  Painted  later  German  and  Norwe- 
gian scenes,  treating  mountains,  forest  and  sea  with  ability 
and  power/' 

— Cyclopedia  of  Painters. 


*No.  1— "Returning  from  the  Festival." 

22y2  X  16. 

A  party  of  Bavarian  peasants  are  returning  over  the  hill 
from  a  harvest  festival.  They  are  moving  gaily  along  in 
holiday  attire,  waving  adieus  and  returns  from  the  party 
they  have  just  left.  The  rich  autumn  landscape  and  clear- 
cut  sky  are  invigorating  and  strong. 

ANDERS  (E.)   Holland 

*  No.  2— "Mother  and  Babe." 

15^/^x23. 

In  the  subdued  light  of  a  large  oriel  window,  a  mother, 
richly  dressed  and  beautiful,  sits  sewing  beside  the  cradle 
of  her  slumbering  babe.  The  colors  in  this  picture  are 
very  rich  and  harmonious,  while  the  details  are  painted 
with  unafifected  care  and  truth.  The  German  Art  Lexicon 
praises  this  picture  for  its  depth  of  feeling  and  exquisite 
coloring. 

BAROCCIO  (Ferderigo).    Called  also  Fiori  da  Urbino. 
Born  at  Urbino  in  1528. 
Died  there  in  1612. 
''Roman  School;  son  and  pupil  of  Ambrogio  Barocci; 
afterwards  studied  under  Francesco  Menzocchi  and  Bat- 
tista  Franco  at  Urbino.    In  1548  he  went  to  Rome  and 
both  studied  and  copied  works  of  Raphael  four  years.  On 
his  return  to  Urbino  he  painted  a  picture  of  St.  Margaret 


INDEX  AND  BIOGRAPHICAL  NOTES.  7 


and  other  works  which  gave  him  a  great  reputation.  In 
1560  he  was  invited  to  Rome  by  Pius  IV,  and  painted  in 
the  Vatican  with  Ferrigo  Zucchero." 

— Cyclopedia  of  Painters  and  Paintings. 


No.  3— "Madonna  and  Child/' 

V 

26  X  36. 

Mary  is  kneeling  by  the  manger  in  the  humble  stable, 
holding  in  her  arms  the  infant  Jesus,  while  cherub  angels 
are  represented  as  preparing  his  couch  in  the  manger,  and 
otherwise  ministering  unto  him.  Others  are  seen  shedding 
their  light  from  above  and  proclaiming  the  glad  tidings  to 
the  world.  The  picture  is  painted  in  Baroccio's  usual 
strong  and  pleasing  coloring. 


BELLOWS  (Albert  P.). 

Born  at  Milford,  Mass. 
Genre  Painter. 

Studied  in  Paris  and  at  the  Royal  Academy  of  Antwerp; 
and  painted  in  England  and  Wales. 

"A  recent  biographer  in  Appleton's  Art  Journal  writes: 
'Mr.  Bellows  has  been  a  constant  and  large  exhibitor  in 
the  New  York  exhibitions,  and  probably  no  class  of  sub- 
jects finds  so  much  favor  in  the  eyes  of  connoisseurs  and 
the  public  as  that  presented  by  him  .  .  .  there  are 
but  few  American  artists  whose  works  are  more  popular 
than  those  of  Mr.  Bellows  and  this  is  due  not  only  to  the 
taste  shown  in  the  selection  of  subjects,  but  also  to  their 
artistic  treatment.' '' 

— Sheldon's  ''American  Painters." 


8 


T.  B.  WALKER  COLLECTION. 


No.  4— 'The  Morning  Bath/' 

4\y2  X3534. 

A  beautiful  young  mother,  clad  in  modest  bathing  cos- 
tume, with  a  profusion  of  golden  brown  hair  hanging  loose- 
ly over  her  graceful  shoulders,  is  carrying  in  her  arms  a 
dimpled  baby.  Their  way  leads  down  to  the  rippling  surf. 
At  her  feet,  and  stretching  away  as  far  as  the  eye  can 
reach,  are  the  emerald  waters  of  the  tireless  sea,  over- 
spread by  a  leaden  sky  of  early  morning.  The  pleasing 
harmony  of  colors,  the  happy  selection  of  design,  and  the 
very  natural  outlines  and  forms  of  the  figures  make  of 
this  one  of  the  best  of  this  artist's  efforts  in  oil  colors. 


BONHEUR  (Marie)   Rosa  Paris 

Born  in  Bordeaux,  March  22,  1822.    Died  May  26,  1899. 
Animal  painter. 

Daughter  and  pupil  of  Raymond  Bonheur. 

Began  by  copying  in  the  Louvre;  afterwards  made  stud- 
ies and  sketches  near  Paris.  Her  first  two  pictures  ex- 
hibited at  Bordeaux  in  1841  attracted  much  attention,  and 
were  followed  by  others  which  established  her  world-wide 
fame.  During  the  Franco-Prussian  war  her  studio  and 
residence  were  respected  by  special  order  of  the  Crown 
Prince  of  Prussia.  Since  1849  she  has  been  director  of  the 
Paris  Free  School  of  Design  for  Young  Girls,  which  she 
founded.  She  was  elected  member  of  Antwerp  Institute 
in  1868.  Medals  first  class,  1848  and  1855;  Legion  of  Hon- 
or, 1865;  Leopold  Cross,  1880. 

Among  the  most  noted  of  her  paintings,  given  in  the 
order  of  production,  are:  Two  Rabbits,  Goats  and  Ram 
(1841);  Horse  for  Sale,  Grazing  Cow,  Cattle  at  Pasture, 
twelve  Cattle  pieces  (1845);  Herd  (1848);  Ploughing  in  the 
Nivernais    (1849),    Luxembourg    Museum;    Horse  Fair 


INDEX  AND  BIOGRAPHICAL  NOTES.  9 


(1853);  Hay  Harvest  in  Auvcrgne  (1855);  Marc,  Rain  on 
the  Sea  Shore,  Shepherd  in  Bcarn,  Ponies  from  the  Isle  of 
Skye,  Scotch  Shepherd  (1867);  Painter  (1868);  Sheep  at 
Pasture  (1871);  Forest  of  Eontainebleau,  Meadow  Near 
Fontainebleau  (1872);  Monarch  of  the  Glen,  Pack  of  Wild 
Boars  (1879);  Foraging  Party,  On  the  Alert  (1881);  Lion 
at  Home  (1882). 

The  "Ploughing  in  Nivarnais"  was  placed  in  the  Luxem- 
boVirg,  and  the  "Horse  Fair"  was  a  leading  attraction  at 
the  French  Exposition  in  1853,  and  at  the  Universal  Expo- 
sition at  London  in  1855.  The  artist  worked  eighteen 
months  on  this  latter  picture,  attending  the  horse  market 
in  Paris  twice  a  week  regularly  during  the  time. 

In  addition  to  the  honors  referred  to,  this  artist  has  re- 
ceived several  other  medals,  and  in  1865  was  decorated 
with  the  Cross  of  the  Legion  of  Honor. 

"The  greatest  animal  painter  now  in  France  is  probably 
Rosa  Bonheur.  There  is  the  same  intense  observation 
and  sympathy  with  nature,  the  same  vigor  of  treatment 
we  find  in  the  works  of  Troyon  and  Landseer,  so  far  as 
the  representation  of  cattle  is  concerned." 

— L.  G.  W.  Benjamin. 

"The  most  accomplished  female  painter  who  ever  lived." 

— Philip  Gilbert  Hamerton. 

"And  she  is  praised  for  firmness  of  design  and  for  the 
grand  character  of  her  landscapes."  — Vapereau. 

"The  following  translation  of  a  letter  from  the  artist, 
lends  additional  interest  to  the  work: 

"Dear  Sir:  The  painting  of  which  you  speak,  'Spanish 
Muleteers'  (Aragon),  was  made  for  my  brother-in-law,  M. 
P'eyrol,  seven  or  eight  years  ago,  from  a  study  I  made  in 
the  Pyrenees  on  the  Spanish  frontier^  near  to  Peyrenirer 
road  to  Urda. 

"I  gladly  give  you  this  information,  and  present  to  you 
my  kind  regards.  (Signed) 

"ROSA  BONHEUR." 


10  T.  B.  WALKER  COLLECTION. 


No.  5 — "Rosa  Bonheur's  Lion. 

46V2  X  36. 

While  this  picture  of  the  "King  of  Beasts"  does  not  rep- 
resent the  same  amount  of  work  as  her  masterpiece,  "The 
Horse  Fair,"  yet  the  subject  is  just  as  well  treated.  The 
color  scheme  is  perfect,  and  the  finish  fully  as  artistic  and 
delicate  as  in  that  great  painting.  The  lion  seems  to  stand 
on  a  prominence,  while  the  spectator  stands  on  the  same 
level,  facing  him,  and  getting  a  glimpse  of  the  great  valley 
below.  The  background  is  made  up  of  fleecy  clouds 
through  which  here  and  there  one  sees  the  deep  blue  of 
the  sky. 


BONIFAZIO  (Veronese). 

Born  at  Venice  in  149L    Died  1540. 

"There  are  different  accounts  of  his  education,  for,  ac- 
cording to  some,  he  was  the  pupil  of  the  elder  Palma, 
while  others  say  he  studied  the  works,  if  not  in  the  school, 
of  Titian,  so  that  his  style  partook  of  the  manner  of  each 
of  these  masters."    — Pilkington's  Dictionary  of  Painters. 

"Bonifazio  Veronese  was  a  follower,  if  not  a  pupil,  of 
Palma  Vecchio.  He  was  also  much  influenced  by  Gior- 
gione  and  Titian,  and  several  of  his  best  works  remarkable 
for  a  Titian-like  beauty  of  colouring  have  passed  under 
the  name  of  those  masters." 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

"Venetian  school;  pupil  of  Palma  Vecchio,  but  closely 
imitated  Titian.  Forms  clear  and  rounded,  lights  and  shad- 
ov/s  distinct;  for  colour  one  of  the  first  Venetian  masters." 

— Cyclopedia  of  Painters  and  Paintings. 


INDEX  AND  BIOGRAPHICAL  NOTES.  11 


No.  6 — "Madonna  and  Child. 

30^x36^. 

From  Ricardi  Palace,  Venice,  and  from  collection  of 
Martin  Colnaghi,  London. 

This  conception  of  the  Virgin  is  of  a  girl  probably  about 
twenty  years  of  age,  attired  in  a  plain  red  waist  and  blue 
dre^ss  with  a  lighter  blue  mantle  thrown  loosely  over  the 
head.  The  child  Jesus  is  seated  upon  a  crimson  cushion 
which  the  young  mother  holds  on  her  lap.  The  forms  and 
features  are  most  delicately  outlined,  and  while  the  colors 
are  deep  and  rich,  the  perfect  harmony  is  very  satisfactory 
and  pleasing. 


BOSTON  (J.  H.). 

No.  7— "After  the  Shower." 

27  X  34. 

In  the  center  of  the  picture  is  seen  a  winding  roadway 
with  here  and  there  small  pools  of  water  from  the  passing 
shower.  On  the  left  is  a  low,  humble  cottage,  with  the 
candle  light  still  shining  through  the  small  windows.  The 
late  afternoon  sun,  however,  is  beginning  to  peep  through 
the  disappearing  clouds,  the  blue  of  the  summer  sky  is 
seen  in  the  west,  and  the  husbandman  starts  forth  to  the 
field. 

The  artist  has  chosen  a  difficult  subject,  but  a  careful 
study  of  the  picture  shows  a  most  successful  painting. 


BROWN  (J.  G.)  New  York 

Born  in  England  in  1831. 
Studied  at  Newcastle-on-Tyne,  and  in  the  Royal  Scottish 
Academy,  Edinburgh;  later  with 


12  T.  B.  WALKER  COLLECTION. 


Thomas  Cummings,  N.  A. 
Elected  member  of  the  National  Academy,  1863. 
Medals,  Boston  and  San  Francisco. 
Member  of  the  American  Water  Color  Society. 
"Mr.  Brown's  subjects  are  derived  from  the  homely  inci- 
dents of  everyday  life  and  are  usually  treated  with  sim- 
plicity and  naturalness.    His  realistic  powers  are  marked." 

— Prof.  Wier. 

mo.  8— "Modern  Eve/' 

20  X  30. 

Mr.  Brown's  departure  from  the  proverbial  "boot-black" 
is  as  successful  as  it  is  pleasing.  A  bright,  winsome  girl 
with  her  sleeves  rolled  up  and  a  pan  of  apples  in  her  lap. 
She  has  a  quizzical,  half  smiling  expression  as  she  fingers 
a  nice  red  apple,  as  though  she  had  half  a  mind  to  throw 
it  to  the  critic  to  see  if  he  was  a  judge  of  wine  saps  as 
well  as  canvases. 

The  beauty  of  the  human  countenance  is  more  compli- 
cated than  that  belonging  to  most  natural  objects.  It  de- 
pends at  once  on  color,  or  complexion;  on  figure,  or  out- 
line; and  on  unity  of  design,  that  is,  the  adaptation  of  its 
various  parts  to  the  purposes  for  which  they  were  formed. 
The  chief  beauty  of  the  countenance,  however,  lies  in  what 
is  called  the  expression^  or  the  mind.  As  an  example  for 
study  along  these  lines,  this  picture  commends  itself  to 
one's  closest  attention. 

BOTTICELLI  (Alessandro  Filipepi). 

Born  at  Florence  1447  (or  earlier). 
Died  in  May,  1510  (or  later). 
He  was  better  known  as  Sandro  Botticello,  the  youngest 
son  of  Mariano  Filipepi,  of  Florence,  a  tanner.    He  was 


INDEX  AND  BIOGRAPHICAL  NOTES. 


13 


apprenticed  in  his  youth  to  a  goldsmith,  l)iit  he  soon  aban- 
doned this  art  and  devoted  himself  to  painting,  which  he 
studied  first  under  Era  Eillippo  Lippi,  and  afterwards  un- 
der the  brothers  Pollaiuoli.  His  first  important  work  was 
an  "Adoration  of  the  Magi,"  painted  about  the  year  1476, 
in  which  he  emulated  the  style  of  Don  Ghirlandajo.  This 
picture,  now  in  the  Uffizi  at  Elorence,  contains  several  por- 
traits of  the  Medici  family.  Sandro  was  the  originator  of 
thi  Tondi,  or  circular  pictures  of  the  "Madonna  and  Child 
with  Angels,"  the  most  beautiful  of  which  is  the  master- 
piece of  the  "Magnificat,"  now  in  the  Uffizi  at  Elorence. 
His  most  distinctive  qualities  as  a  painter  lie  in  his  unique 
power  of  conveying  the  sense  of  light,  swift  movement  and 
in  his  genius  for  lineal  design.  His  pictures  are  generally 
distinguished  by  a  quaint  grace  of  form,  combined  with  a 
profound  melancholy  sentiment.  His  last  picture  and  the 
only  one  he  ever  signed  and  dated  was  the  little  "Nativity" 
in  the  National  Gallery. 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

"The  grace,  sympathetic  feeling,  and  imaginative  quality 
of  Sandro's  work  give  it  a  greater  hold  upon  the  mind 
than  that  of  many  painters  who  surpassed  him  in  technical 
knowledge  and  in  feeling  for  beauty.  His  art  is  always 
refined  and  elevated,  though  not  altogether  free  from  naive 
mannerism,  whose  quaintness  gives  it  a  peculiar  charm." 

— Cyclopedia  of  Painters  and  Paintings. 

"Being  a  disciple  of  Eilippi  Lippi,  he  imitated  that  mas- 
ter, both  in  his  design  and  coloring.  Though  Botticello 
received  large  sums  for  his  works  he  lived  extravagantly 
and  died  in  poverty  in  1515." 

— Pilkington's  Dictionary  of  Painters. 


No.  9— "Madonna  and  Child  with  Angels." 

Circle  17  inches  in  diameter. 
From  an  old  collection  in  Italy  sold  in  1810. 


14  T.  B.  WALKER  COLLECTION. 


The  Madonna  is  seated  holding  the  infant  Jesus  on  her 
lap,  while  three  angels  are  ministering  unto  them.  One 
angel  holds  a  large  book  on  a  plush  cushion,  another  holds 
an  inkstand,  while  the  Madonna  with  pen  in  hand  is  ready 
to  write  in  the  book.  A  halo  encircles  each  head,  and  while 
every  figure  is  graceful  and  beautiful,  yet  each  face  is 
profoundly  serious.  This  old  painting  is  on  wood,  now 
reinforced  with  walnut  strips  across  the  back,  and  without 
doubt  is  one  of  his  early  Fondi  or  circular  pictures.  It  is 
mounted  in  a  genuine  old  Florentine  frame. 

Mr.  Chas.  D.  Pratt,  art  critic  of  the  Alaska-Pacific- 
Yukon  Exposition,  says:  "Botticelli's  Madonna  and  Child 
takes  us  back  to  the  15th  century,  to  a  time  when  Italian 
art  was  just  awakening  to  the  greatness  which  was  soon 
to  follow.  In  this  work,  by  one  of  the  most  individual 
painters  of  the  early  renaissance,  we  find  a  more  complex, 
more  cultured  production  than  the  work  which  had  gone 
before.  His  beautifully  flowing,  graceful  lines,  of  which 
he  was  master,  may  be  compared  to  tone  melodies  in 
music,  expressing  every  range  of  feeling." 

BOUGUEREAU  (William)  Adolphe  France 

Born  at  La  Rochelle,  1825. 

In  1842  he  went  to  Paris  and  entered  the  studio  of  Picot, 
and  later  the  Ecole  des  Beaux-Arts,  where  his 
progress  was  rapid. 

He  gained  the  Prix  de  Rome  in  1850,  and  then 
studied  in  Rome. 
Medals,   Paris,   1855    (Exposition  Universelle),  1857, 
1867  (Exposition  Universelle). 
Chevalier  of  the  Legion  of  Honor,  1859. 
Member  of  the  Institute  of  France,  1876. 
Officer  of  the  Legion  of  Honor,  1876. 


INDEX  AND  BIOGRAPHICAL  NOTES.  15 


Medal  of  Honor  (Exposition  Universelle),  1878. 
Knight  of  the  Order  of  Leopold,  1881. 
Grand  Medal  of  Honor,  Paris,  1885. 
Medal  of  Honor,  Antwerp,  1885. 

''One  day  in  1842,  or  thereabouts,  a  veritable  riot  sprung 
up  among  the  students  of  the  Alaux  Art  School  at  Bor- 
deaux. It  was  occasioned  by  the  award  of  the  prize  of  the 
year  to  a  young  shopkeeper's  clerk  from  La  Rochelle,  who 
was  taking  daily  drawing  lessons  of  two  hours  each,  which 
his  employer  allowed  him  to  abstract  from  business.  The 
students  had  such  a  contempt  for  the  young  shopman  that 
they  resented  with  violence  the  fact  that  he  should  win  the 
honor  of  the  school.  But  Bouguereau  received  the  prize  in 
spite  of  their  protests,  and  it  decided  his  career.  He  deter- 
mined to  become  an  artist.  His  family  objected.  He 
threw  up  his  employment  at  the  shop  and  went  penniless 
to  live  with  his  uncle,  who  was  a  priest  at  Saintonge. 
While  there,  by  painting  portraits  of  the  townspeople  for 
a  few  francs  each,  out  of  his  earnings  he  saved  900  francs, 
on  which  he  proceeded  to  Paris,  entered  the  studio  of 
Picot,  and  secured  admission  to  the  Ecole  des  Beaux  Arts 
in  1843  at  the  age  of  eighteen  years.  He  lived  by  incredible 
shifts,  finally  receiving  some  small  assistance  from  his  fam- 
ily, until,  in  1850,  he  won  the  Prix  de  Rome.  For  four  years 
he  was  a  pensioner  and  student  in  that  city,  and  he  re- 
turned to  Paris  an  artist  competent  to  the  execution  of 
great  works.  Public  commissions  and  private  patronage 
soon  laid  the  foundation  of  his  fortune.  In  the  face  of  the 
reaction  against  classicism,  he  remains  a  classicist,  but  his 
technical  knowledge  is  so  profound,  his  skill  so  masterly, 
and  his  art  so  powerful  in  its  intellectual  vitality,  that  he  is 
able  to  hold  his  own  against  the  strongest  rush  of  the 
naturalistic  tide  that  would  sweep  feebler  men  before  it. 
He  is  personally  an  interesting  man,  with  a  rigid  adherence 
to  his  artistic  beliefs,  an  iron  resolution  and  indomitable 


16 


T.  B.  WALKER  COLLECTTOX. 


will.  One  of  the  bitterest  critical  battles  of  our  time  has 
been  fought  over  him,  but  it  has  not  swerved  him  one 
hair's-breaclth  from  the  position  he  has  assumed  and  has 
rather  added  to,  than  impaired,  his  fame." 

— Extracts  from  Notes  sur  les  Cent  Chefs-d'CEuvres, 

by  M.  A.  Wolff. 


No.  10 — "Normandy  Peasant  Girls  at  Prayer." 

25  x  58^/^. 

A  couple  of  earnest,  serious-faced  girls,  kneeling  before 
an  altar  in  a  country  church,  saying  their  prayers.  The 
rays  from  some  adjoining  window  lighten  up  their  faces, 
making  a  fine,  soft,  realistic  picture. 

Professor  Koehler,  Director  of  the  Minneapolis  Acad- 
emy of  Fine  Arts,  says: 

'T  consider  this  picture  as  standing  alone  in  this  coun- 
try as  a  work  of  art.  None  of  the  old  masters  have  ex- 
celled it  in  refinement  and  beauty,  and  certainly  no  other 
of  the  modern  masters  could  produce  it.  I  regard  this  as 
the  best  painting  in  this  country." 

Professor  French,  of  the  Chicago  Art  Institute,  says: 

''This  painting  by  Bouguereau  I  was  particularly  anxious 
to  have  in  this  exhibition,  as  I  consider  it  one  of  the  finest 
pictures  in  this  country,  in  fact  hardly  equalled  by  any  of 
the  ancient  or  modern  painters." 

BUSSON  (Charles). 

Born  at  Montoire  (Loire-et-Cher),  July  15,  1822. 
Landscape  painter. 
Pupil  of  Remond  and  Frangais. 
Medals:   3d  class,  1855,  1857,  1859,  1863,  1867;  1st  class, 
1878.    Legion  of  Honor,  1866. 
Works:    View  near  Sassenage  (1846);  The  Loire,  View 
in  Auvergne  (1852);  Woods  in  Touraine,  Hay  (1853);  Eht 


INDEX  AND  BIOGRAPHICAL  NOTES.  17 


virons  of  Montoire  (1855);  Ford  near  Montoire  (1857); 
The  Heath,  Before  the  Storm  (1859);  Evening  on  the 
Loire,  Sunday,  Storm  on  the  Heaths  (1863);  Sunrise  at 
Sea,  Evening  (1864);  Autumn  Day,  Hunting  in  the  Marsh- 
es (1865);  Road  Near  Red  Sea  (1870);  After  the  Rain 
(1875);  Old  Bridge  of  Lavardin  (1880);  and  others. 

C  *No.  11— 'landscape." 

49  X  35. 

A  sunlit  portrait  of  a  row  of  tall,  angular,  decrepit  old 
trees.  They  have  neither  grace  of  outline  nor  beauty  of 
foliage  to  commend  them  to  the  artist's  eye,  yet  as  they 
wave  their  tall  tops  in  the  wind,  making  sunlight  dance  on 
the  little  brown  cottage  they  overshadow,  they  form  a  fit 
and  pleasant  portion  of  the  picture. 


BOGERT  (Geo.  H.)  America 

One  of  the  foremost  of  the  American  painters. 

^No.  \2—"K  Windy  Day  in  Finistere." 

30x20>^. 

In  the  left  foreground  a  thatched  roof  cottage,  the  home 
of  the  peasant  who  is  seen  with  his  wife  at  work  in  an  ad- 
joining field.  The  valley  in  the  distance,  the  fine  trees, 
dense  shrubbery  and  lowering  clouds  are  all  in  the  soft 
gray  tones  and  style  of  the  artist  Cazin. 


CANALETTO  (Antonio  Canal). 

Born  at  Venice  in  1697.    Died  in  Venice  1768. 
He  was  the  pupil  of  his  father,  Bernardo  Canal,  who  was 
a  decorator  and  scene  painter,    Antonio  first  confined  his 


18  T.  B.  WALKER  COLLECTION. 


attention  to  theatrical  decorations,  but  in  1719  went  to 
Rome,  where  he  spent  some  time  in  drawing  and  copying 
the  antiquities  of  that  city  and  its  vicinity.  Returning  to 
his  birthplace  he  exclusively  occupied  himself  in  producing 
views  of  Venice,  which  for  their  great  truth  to  nature  and 
for  their  extraordinary  effect,  perspective  and  color,  met 
with  an  immense  success  and  are  still  most  highly  es- 
teemed. 

In  1746  Canaletto  visited  London  and  remained  two  years, 
during  which  time  he  painted  many  of  his  most  striking 
views.  It  is  commonly  thought  that  he  was  the  first  artist 
w^ho  used  the  camera  lucida  for  his  pictures.  The  prin- 
cipal public  and  private  galleries  of  Europe  possess  exam- 
ples of  this  master.'' 

— Bryants  Dictionary  of  Painters  and  Engravers. 

*'He  visited  England  twice  and  painted  many  successful 
pictures  there,  examples  of  which  are  to  be  seen  at  Wind- 
sor Castle.  The  gallery  contains  some  of  his  finest  pic- 
tures, views  in  Rome  and  Venice. 

"Ch.  Blanc  says  Canaletto  is  unexcelled  in  painting 
architecture  in  aerial  perspective,  and  in  rendering  slight- 
ly ruffled  water.  His  drawing  is  always  precise  and 
accurate  and  his  coloring  is  wonderfully  beautiful." 

— Cyclopedia  of  Painters  and  Paintings. 

"Francisco  Guardi  was  a  pupil  of  Canaletto.  At  a  sale 
of  this  artist's  paintings  in  1798  some  brought  as  high  as 
$16,500."  ^Painters  and  Their  Work. 


No.  13— "Grand  Canal  in  Venice." 

"Fete  Day  in  Venice,"  marriage  of  the  Adriatic.  This  is 
one  of  the  most  striking  examples  of  Canaletto,  and  is 
charming  in  color  and  detail.  The  scene  represents  the 
Canal  at  Venice  with  numerous  gondolas  bearing  the  guests 
to  the  great  fete.    On  the  right  is  shown  many  of  the  most 


INDEX  AND  BIOGRAPHICAL  NOTES.  19 


imposing  buildings  in  the  city,  including  the  Palace  of  the 
Doges  (Governors)  with  its  tall  square  tower.  On  the  left 
in  the  distance  is  the  Church  of  St.  Stanislaus.  His  archi- 
tecture is  all  but  faultless;  his  colors  soft  and  harmonious, 
and  the  waters  and  sky  effects  very  striking. 

CHARLIER  (P.). 

V 

No.  14— "The  Sheep  Fold." 

21  x30^. 

The  sheep  and  lambs  are  assembled  in  an  open  shelter, 
while  the  shepherdess  fills  the  mangers  with  new  mown 
hay.  The  time  is  evening  in  early  autumn,  as  the  half  grown 
lambs,  the  green  hay,  and  the  turning  leaves  would  indicate. 
Some  of  the  sheep,  after  a  day  in  the  pastures,  are  lying 
down,  while  others  are  lazily  eating  of  the  proffered  hay. 
The  chickens  await  anxiously  their  evening  meal  as  the 
shadows  deepen,  and  the  night  draws  on. 

Little  is  known  of  this  painter,  but  in  this  beautiful  pic- 
ture he  has  left  enduring  evidence  of  his  ability  not  only 
in  design,  but  in  harmony  of  color  and  pleasing  effects. 
CLAUS  (Emil). 

This  artist  has  exhibited  at  a  number  of  Paris  Salons, 
winning  mention  honorable  once  or  twice. 

H<No.  15— "Waiting  for  the  Boat.'' 

46x301/^. 

This  picture  was  exhibited  in  the  Paris  Salon  in  1884, 
and  was  one  of  sixty  out  of  some  six  hundred  that  were 
photographed  on  account  of  special  excellence.  Four  bare- 
footed French  peasant  children,  with  their  backs  turned 
toward  the  observer,  are  eagerly  watching  the  slow  ap- 
proach of  a  ferry  propelled  by  hand  from  the  other  side 


20 


T.  B.  WALKER  COLLECTION. 


of  the  river.  The  reflection  of  the  trees  in  the  water  and 
the  shadows  along  the  edges  of  the  bank  are  produced  in 
a  remarkable  and  wonderfully  efYective  way.  It  is  a  pic- 
ture that  looks  well  in  any  light,  and  seems  to  have  a 
phosphorescent  quality  of  its  own.  It  is  considered  Claus' 
best  work. 


CHAIGNEAU  (Ferdinand)   Paris 

Born  at  Bordeaux. 
Pupil  of  Picot  and  Brascassat. 
Pleasing  and  popular  as  Chaigneau's  subjects  always  are, 
his  independent  indifference  toward  the  Salon  Jury  of 
Award  has  deprived  him  of  honors  to  which  his  masterly 
little  landscapes  well  entitle  him. 

*No.  16— "Shepherd  and  Sheep." 

121^  X  16^4. 

In  the  midst  of  his  feeding  flock  stands  the  shepherd,  his 
head  thrown  back,  drinking  from  a  flask.  A  ragged  little 
dog  stands  at  his  feet,  watching  his  master  thirstily. 


CROME  (John— Old  Crome). 

Born  at  Norwich,  England,  1769.    Died  1821. 
Founder  of  the  Norwich  School. 
Exhibited  in  the  National  Gallery  and  at  Norwich. 
Founded  the  Norwich  Society  of  Artists  in  1803. 
''John  Crome,  commonly  called  'Old  Crome'  (to  distin- 
guish him  from  his  son,  also  a  painter),  the  founder  of  the 
Norwich  School,  was  chiefly  remarkable  for  grand  effects 
produced  by  simple  means — a  clump  of  trees  or  a  bit  of 
heath  becoming  full  of  poetry  in  his  hands." 

— D'Anvers'  History  of  Art. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


21 


''He  studied  and  understood  the  woody  scenery  of  his 
native  land  with  the  skill  of  a  botanist  and  the  eye  of  a 
poet;  to  him  a  grove  was  not  a  mere  mass  of  picturesque 
stems  and  foliage;  each  tree  claimed  a  separate  sort  of 
handling,  and  he  touched  them  according  to  their  kind." 

— Allan  Cunningham. 

C  No.  17— Yarmouth  Jetties." 

33  x251/^. 

A  scene  at  Yarmouth,  on  the  coast  of  England,  show- 
ing the  quays  and  fishing  smacks.  An  attractive,  rich  and 
beautiful  picture.  The  tones  are  harmonious  and  the  sky 
skillfully  painted. 

COOMANS  (Pierre  Oliver  Joseph). 

Born  at  Brussels  1816. 
Pupil  of  Van  Hasselears  of  Ghent;  DeKeyser,  at  Antwerp; 
and  of  Baron  Wappers. 
Medal  at  the  Hague,  1857;  Metz,  1858. 
His  exhibition  pictures,  of  1863,  were  purchased  by  the 
Emperor  Napoleon  III. 


*No.  18— "Too  Fast  for  Baby." 

291^x241/^. 

A  Pompeiian  interior  with  frescoed  walls  and  marble 
floor.  Seated  in  a  long,  low  chair  of  curious  workmanship, 
a  mother  holds  her  babe  upon  her  knee.  By  a  gay  scarf 
which  is  knotted  through  the  back  of  the  chair,  a  sturdy 
boy  is  rocking  mother  and  child  vigorously  to  and  fro.  The 
curly-headed  baby  is  frightened  at  their  rapid  ride  and 
clutches  in  terror  the  front  of  the  mother's  robe.  In  the 
back  of  the  room,  at  the  base  of  a  marble  column,  a  brazier 
burns  continual  incense  to  the  household  gods. 


22  T.  B.  WALKER  COLLECTION. 


CORREGGIO  (Antonio  AUegri). 

Born  at  Correggio  in  1494  (?). 

Died  there  March  5,  1534. 

"Lombard  school.  Real  name  Antonio  Allegri,  son  of 
Pillegrino  Allegri;  probably  pupil  of  his  father's  brother 
Lorenzo,  and  of  Antonio  Bartolotti,  both  second  rate  paint- 
ers of  his  native  town.  At  Modeira  he  is  said  to  have 
found  a  better  master  in  Francisco  Bianchi,  called  Ferari, 
who  belongs  to  the  school  of  Francia,  but  as  Bianchi  died 
in  1510,  this,  like  all  that  concerns  Correggio's  training,  is 
uncertain.  An  attempt  to  account  for  his  peculiar  develop- 
ment has  led  to  many  conjectures,  none  of  which  give  any 
clue  to  the  formation  of  his  totally  new  method  of  painting 
or  to  the  distinguishing  characteristics  of  his  style.  These 
characteristics  are  sweetness  of  expression  and  ineffable 
grace  of  pose;  light  in  color,  or,  in  other  words,  a  certain 
luminous  quality  which  radiates  and  transfigures." 

— Cyclopedia  of  Painters  and  Paintings, 

"Allegri's  art  was  thoroughly  individual,  but  by  the  sen- 
suous character  of  his  painting  he  is  more  nearly  allied  to 
the  school  of  Venice  than  to  the  severer  intellectual  schools 
of  Padua  or  Florence." 

"Allegri's  use  of  chiaroscuro,  his  exquisite  modelling  and 
his  gracious  manner,  if  we  may  so  call  it,  bear  so  much 
closer  affinity  to  Leonardo  da  Vinci  than  to  any  other  mas- 
ter, that  it  seems  almost  impossible  to  doubt  that  in  some 
way  or  another  he  also  caught  inspiration  from  him." 

''Perhaps  what  mostly  distinguishes  his  style  from  that 
of  every  other  master  is  his  delicate  perception  of  the  mi- 
nutest gradations  of  light  and  shade.  His  chiaroscuro  has 
been  praised  by  artists  as  simply  perfect.  It  sheds  a  won- 
derful atmosphere  of  light  and  delight  over  all  his  works, 
and  his  figures  seem  literally  to  live  in  radiant  glory." 

— Bryan's  Dictionary  of  Painters  and  Engravers. 


INDEX  AND  BIOGRAPHICAL  NOTES.  23 


No.  19 — "Virgin  and  Infant  Jesus." 

7^x8]^. 

From  the  collection  of  the  Marquis  de  San  Vitolia. 

This  painting  was  exhibited  at  the  Royal  Galleries  at 
Leeds  in  1868,  and  at  the  Royal  Academy,  London,  in  1886, 
and  had  to  pass  to  certification  and  inspection  of  the  Royal 
Art  Association.  The  whole  painting  shows  the  character 
of  a  master's  hand.  Although  small,  the  design,  the  splen- 
did grouping,  the  elegance  in  form  of  both  figures,  and  the 
pleasing  harmony  of  colors  throughout  mark  it  a  master- 
piece of  art. 

Mr.  Chas.  D.  Pratt,  art  critic  of  the  Alaska-Yukon- 
Pacific  Exposition,  says:  "Coming  down  to  the  great 
painters  of  the  16th  century,  we  find  a  climax  in  Italian 
art.  "The  Virgin  and  Infant  Jesus,*'  by  Correggio,  is  a 
gem-like  example  of  this  master  of  values,  atmosphere  and 
color.  His  pictures  are  mostly  of  religious  subjects,  but 
he  was  not  a  moralist  or  story  teller;  he  was  full  of  love 
of  life  and  worship  of  nature;  all  his  work  is  joyous." 

ANTOINE  COYPEL. 

Born  in  Paris,  April  11,  1661;  died  there  Jan.  1,  1722. 
French  school,  history  painter. 

"Pupil  of  his  father,  Noel,  with  whom  he  went  to  Rome 
in  1672^  and  received  a  prize  from  the  Academy  of  St. 
Louis.  After  three  years  he  returned  to  Paris,  and  there 
obtained  a  second  academical  prize  in  1676." 

— Cyclopedia  of  Painters  and  Paintings. 

"He  was  the  most  rising  painter  of  his  time  and  was  re- 
ceived into  the  Academy  in  1681,  when  only  twenty.  In 
1714  he  was  appointed  Director  of  the  Academy,  in  1716 
First  Painter  to  the  King,  and  was  made  a  noble  in  1717. 

"His  art  was  well  adapted  to  the  times  in  which  he  lived. 


24  T.  B.  WALKER  COLLECTION. 


and  very  popular,  for  the  grace  in  the  faces  and  figures  in 
his  works  was  French,  although  conventional  and  dra- 
matic/' — James'  Painters  and  Their  Works. 

''An  artist  of  some  celebrity  who  painted  chiefly  for  the 
king  and  made  many  designs  for  tapestry. 

"On  his  return  to  Paris,  Antoine  became  a  very  popular 
artist  and  was  much  employed  in  painting  royal  palaces." 

— D'Anvers'  Elementary  History  of  Art. 

"He  was  graceful  in  the  airs  of  his  heads,  painted  chil- 
dren in  the  greatest  perfection  and  was  above  all  attentive 
in  expressing  with  propriety  the  passions  of  the  soul. 

"His  principal  works  at  Paris  are,  Christ  Among  the 
Doctors,  and  The  Assumption,  in  the  church  of  the  Notre 
Dame;  and  at  the  Carthusians,  Christ  Curing  the  Blind  at 
Jericho." 

— Bryan's  Dictionary  of  Painters  and  Engravers. 
"His  real  strength,  like  that  of  Le  Brun,  lay  in  so  ar- 
ranging and  combining  vast  subjects  as  to  produce  a  whole 
full  of  play  and  movement.  Like  Le  Brun,  too,  he  care- 
fully studied  costume.  But  he  sought  to  refine  on  his  pred- 
ecessor by  applying  to  the  expression  of  the  soul  those 
formal  methods  which  the  latter  had  only  employed  to  give 
the  effect  of  external  life  and  movement." 

— Spanish  and  French  Painters. 

No.  20— *A  Mythological  Scene." 

39  x  48. 

From  the  Lady  Buxton  collection.  Represents  Pluto 
capturing  Prosperina,  whom  he  took  to  his  abode  in  the 
lower  regions.  He  takes  her  into  his  chariot  and  the  team 
is  pitching  headlong  down  the  declivity  on  the  way  to  his 
habitation  in  the  infernal  regions.  Painted  in  a  classical 
style  and  coloring  and  characteristic  of  this  painter,  whose 
works  are  but  little  known  in  this  country. 


INDEX  AND  BIOGRAPHICAL  NOTES.  25 


COROT  (Jean  Baptiste  Camille)  France 

Born  at  Paris,  1796.    Died  1875. 
Pupil  of  Michallon  and  Victor  Bertin. 
Completed  his  studies  in  Italy. 
Medals,  1833,  1848,  1855. 
Legion  of  Honor,  1846. 
Officer,  1857. 

"In  originajity  of  mind  and  force,  purity  and  individual- 
ity of  aim  and  character,  he  seems  to  be  the  most  consider- 
able figure  that  has  appeared  in  the  art  world  of  France 
during  the  century.''  — L.  G.  W.  Benjamin. 

"Corot  stands  apart.  Critics  call  him  a  master.  He  is 
no  profuse  colorist.  Browns,  pale  greens,  and  silver  grays, 
with  an  occasional  shade  of  purple,  or  a  bright  spot  of 
intenser  color,  to  represent  flowers  or  drapery,  are  his  re- 
liance." 

— Jarvis'  Art  Thoughts. 


No.  21— "Dance  of  the  Nymphs." 

28  X  19. 

From  the  second  Seney  Collection.  Painted  for  his 
family  physician.  Dr.  Simoni,  and  sold  by  him  to  Leroy 
&  Co.,  of  Paris. 

This  picture  is  well  known  to  those  familiar  with  the 
work  of  this  artist  at  his  earlier  period.  Under  the  soft 
green  of  a  summer  forest,  in  wild  sport,  the  Nymphs  dance 
over  the  sward  and  among  the  flowers.  The  scene  is  beau- 
tiful in  the  delicate  lights  and  fine  soft  colors  that  compose 
it. 


26  T.  B.  WALKER  COLLECTION. 


CONSTABLE  (John). 

Born  at  East  Bergholt,  Suffolk,  June  11,  1776. 

Died  in  London  March  30,  1837. 

Landscape  painter;  pupil  of  Royal  Academy  in  1779,  and 
later  of  Joseph  Farrington  and  R.  R.  Reinagle. 

"While  there  are  many  landscape  painters  who  can  paint 
nature  in  her  tranquil  moods,  when  she  sits  motionless  as 
a  model,  there  are  but  few  who,  like  Constable,  can  hx 
upon  canvas  the  coming  storm,  the  rising  wind,  and  the 
rapidly  changing  sunset.  In  treating  masses  of  clouds  driv- 
ing across  the  sky  or  brooding  over  the  tree  tops,  he  has 
no  rival." 

■ — Cyclopedia  of  Painters  and  Paintings. 

"The  peculiar  merit  and  novelty  in  Constable's  works 
cannot  be  expressed  better  than  in  the  words  used  by  Red- 
grave: ^Landscape  painters  had  hitherto  usually  painted 
with  the  sun  at  their  backs,  to  the  right  or  to  the  left,  out 
of  a  picture,'  and  'many  had  painted  the  sun  in  the  picture 
gradually  sinking  in  the  low  horizon.  But  Constable  chose 
the  time  when  the  sun  was  high  in  the  heavens,  far  above, 
out  of  his  canvas,  but  still  in  front  of  him,  and  painted  al- 
most always  under  the  sun  and  much  that  is  peculiar  in  his 
art  arose  from  this  cause." 

— Painters  And  Their  Works. 

"Constable  was  exclusively  a  landscape  painter,  depict- 
ing nature  in  her  grand  and  angry  moments,  and  one  to 
whom  our  modern  school  of  landscape  painting  is  greatly 
indebted.  In  color,  he  helped  eliminate  the  brown  land- 
scape and  substituted  in  its  place  the  green  and  blue  of 
nature.  His  influence  upon  art  was  impressive,  eventually 
developing  the  famous  Barbizon  school." 
— (Chas.  D.  Pratt,  Art  Critic,  Alaska-Yukon  Exposition, 
Seattle,  1909.) 


INDEX  AND  BIOGRAPHICAL  NOTES.  27 


No.  22 — "Lockkeeper's  Home  on  the  Stour/' 

34x413/4. 

From  the  collection  of  General  Biilwer  Hayden  Hall. 

It  is  evident  that  Constable  found  in  the  quaint  scenery 
of  this  vicinity  not  only  his  greatest  inspiration,  but  mate- 
rial for  his  best  paintings.  In  fact,  his  masterpiece,  "Lock 
on  the  River  Stour,"  v^as  painted  in  the  immediate  neigh- 
borhood. In  the  foreground  is  one  of  the  rustic  locks  and 
two  children  fishing  from  the  shore.  On  the  right  a  grand 
old  elm  spreads  its  boughs,  casting  its  shadows  into  the 
tranquil  stream.  On  the  left  a  gnarled  oak,  broken  and 
bent  by  the  many  passing  storms,  while  near  the  end  of  the 
bridge  spanning  the  river  is  the  gatekeeper's  modest  cot- 
tage. To  the  left  in  the  distance  stands  the  artist  home  of 
John  Constable,  almost  hid  from  view  by  overhanging 
trees.  The  shadows  deepen  as  the  sun  dips  low  in  the 
west,  obscured  by  threatening  clouds. 

No.  23 — '^Constable's  Artist  Home  on  the  Stour." 

38x50^/^. 

From  the  collection  of  General  Bulwer,  Hayden  Hall. 

In  the  foreground  is  a  shallow  channel  of  the  River 
Stour,  This  shallow  rapids,  only  a  short  distance  above  the 
lock,  afifords  a  crossing  place  for  the  farmer  folk  of  the 
vicinity.  A  rustic  wagon  drawn  by  two  horses  is  crossing 
the  ford,  while  two  cows  from  the  adjoining  meadows  dis- 
port themselves  near  the  opposite  shore.  On  the  left,  half 
hidden  by  the  spreading  boughs  of  great  elms,  stands  the 
artist  home  of  the  great  painter.  Heavy  clouds  o'erspread 
the  sky^  while  on  the  horizon  the  setting  sun  casts  a  pale 
blush  over  the  surrounding  landscape. 

The  odor  from  the  new  mown  hay. 
Comes  to  the  boy  and  dog  at  play; 
While  the  old  canoe  with  silent  oar. 
Lies  idle  on  the  reed-grown  shore. 


28  T.  B.  WALKER  COLLECTION. 


DAVID  (Jacques  Louis)  France 

Born  at  Paris,  1748. 
Founder  of  the  Modern  French  School  of  Painting. 
Studied  under  Vien  at  Paris  and  Rome. 
Gained  First  Prize  of  Rome,  1774. 
Appointed  by  Napoleon  as  his  first  painter,  1804. 

As  one  of  the  regicides  of  Louis  XVI,  David  was  banished 
from  France  in  1816,  and  died  in  exile  at  Brussels,  1825. 
"David  was  the  Napoleon,  the  dictator,  who,  with  a 
strong  hand,  arrested  the  corruption  of  art  and  gave  it  firm- 
ness and  purity.''  — Gleanings  in  the  Field  of  Art. 

*'One  of  the  most  eminent  painters  of  modern  times.  His 
countrymen  have  conferred  on  him  the  title  of  'The  Head 
and  Restorer  of  the  French  School,'  which  he  brought  back 
from  its  previous  gaudy  and  affected  style  to  the  study  of 
nature  and  the  antique.  At  Rome  he  devoted  himself  par- 
ticularly to  historical  painting,  and  his  great  talent  soon 
gained  him  the  reputation  of  one  of  the  most  promising  ar- 
tists of  the  age.  By  1788  his  reputation  was  established  as 
the  first  painter  of  France.  He  painted  several  portraits  of 
the  Emperor  and  other  members  of  the  Imperial  Family, 
the  most  celebrated  of  which  were,  'Napoleon  as  First  Con- 
sul,' on  horseback,  crossing  Mount  St.  Bernard  and  point- 
ing out  to  his  troops  the  path  to  glory,  and  'Napoleon  in 
his  Coronation  Robes.' 

"As  a  grand  designer  he  undoubtedly  ranks  among  the 
first  artists  of  modern  times,  and  the  praise  of  correct  de- 
lineation and  harmonious  coloring  is  universally  conceded 
to  him.  Had  he  lived  in  more  peaceful  and  less  exciting 
times,  so  that  he  could  have  lent  his  whole  time  and  ener- 
gies to  his  favorite  branch  of  the  art,  he  doubtless  would 
have  far  surpassed  himself,  and  his  history  would  have 
graced  one  of  the  brightest  pages  in  the  annals  of  the  fine 
arts."  — Spooner's  History  of  the  Fine  Arts. 


INDEX  AND  BIOGRAPHICAL  NOTES.  29 


No.  2A — "Napoleon  in  His  Coronation  Robes/' 

72  X  98. 

Napoleon  stands  with  his  right  hand  extended  over  the 
purple  spread  table  on  which  are  seen  the  symbols  of  his 
conquests  and  power,  while  his  left  supports  a  slender  staff 
surmounted  with  an  eagle  wrought  in  gold,  the  sceptre  of 
the  empire.  His  crimson  velvet  robes  of  state  are  ermine- 
lined  and  embroidered  in  gold  with  bees,  palms,  and  laurel 
wreaths.  His  robes  fall  in  heavy  folds  on  the  floor  behind 
him.  Among  other  symbols  under  his  extended  hand  is 
seen  a  large  open  volume  inscribed  the  "Code  Napoleon." 
Pendant  from  the  chain  that  overlays  the  crimson  on  his 
shoulders  is  the  silver  star  of  the  empire.  Clasping  his 
forehead  is  the  wreath  of  golden  laurels  with  which  he  has 
first  crowned  himself.  Above  are  the  golden  folds  of  the 
velvet  canopy,  and  beyond  the  white  marble  columns  and 
walls  of  the  apartment. 

The  picture  was  painted  for  Napoleon  by  David,  in  1805. 
It  was  afterwards  presented  by  the  Emperor  to  Field  Mar- 
shal Louis  Nicholas  Davout,  Duke  of  Auerstadt  and  Prince 
of  Eckmuhl.  Napoleon  and  Davout  were  friends  and 
schoolmates  at  Brienne.  Davout  possessed  not  only  Na- 
poleon's esteem  and  friendship,  but  also  his  confidence,  as 
he  gave  him  command  of  the  imperial  guard,  ihe  crowning 
feature  of  Napoleon's  military  establishment,  and  the  most 
invincible  military  corps  known  in  history.  The  picture 
was  hung  in  the  old  chateau  of  the  Duke's  family  at  Sa- 
vigne,  and  remained  on  the  walls  of  the  drawing  room  un- 
til the  estate  was  sold  at  public  auction  in  1889.  From 
that  sale  it  came  directly  to  this  country,  was  cleaned,  re- 
canvased  and  re-framed  and  loaned  by  Mr.  Walker  to  the 
Exposition  Board,  and  was  first  exhibited  in  1891.  It  was 
afterwards  placed  in  the  Public  Library. 


30  T.  B.  WALKER  COLLECTION. 


DAHL  (Hans)   Norway 

Born  at  Hardanger,  Norway,  1849. 
Pupil  of  the  Carlsruhe  Art  School  under  Riefsthahl 
and  Hans  Gude;  then  in  Dusseldorf  under 
Wilhelm  Sohn  and  E.  Von  Gebhardt. 
Traveled  in  Norway  and  visited  Berlin,  Paris  and  London. 

*No.  25 — "Crossing  the  Fiord  on  a  Windy 
Morning." 

62^  X  281/4. 

A  party  of  Norwegians  are  crossing  the  fiord  on  a  bright, 
windy  morning  to  attend  church  on  the  mainland.  There 
is  a  stiff  wind  blowing  and  their  fisher  boats  dance  through 
the  sparkling  water  as  though  endued  with  the  life  of  the 
rushing  wind.  The  sun  shines  brightly  on  the  broken  wa- 
ters of  the  rock-bound  bay,  and  tips  its  rough  surface  with 
a  thousand  points  of  flashing  light. 

DELPY  (Camille  Hippolyte). 

Born  at  Joigny  (Youne). 
Landscape  painter. 
Pupil  of  Corot  and  Daubigny. 
Medal,  1884. 

*No.  26— "Landscape." 

43x271/4.  • 

A  powerful  and  weird  rural  landscape.  On  the  left  a 
country  road  on  which  a  solitary  peasant  woman  is  walk- 
ing towards  the  little  cottages  near  by.    On  the  river  a 


INDEX  AND  BIOGRAPHICAL  NOTES. 


31 


small  steamboat  is  receding.  There  is  a  peculiar  light 
which  is  enhanced  by  the  somewhat  windy-looking,  yet 
thoroughly  well  painted  sky.  A  true  and  unexaggerated 
view  of  nature. 


DOBSON  (Wm.) 

^  Born  at  Holborn  in  1610. 

Died  in  London  October  28,  1646. 

"After  Vandyck's  death,  Dobson  became  sergeant-paint- 
er and  groom  of  the  privy  chamber.  He  painted  Charles  I, 
Charles  II,  Prince  Rupert,  and  many  other  notable  per- 
sonages." — Cyclopedia  of  Painters  and  Paintings. 

"Sir  Joshua  Reynolds  speaks  of  him  as  one  of  the  great- 
est artists  England  has  produced.  His  touch  was  bold  and 
free,  his  coloring  warm  and  harmonious^  and,  though  in- 
ferior to  Vandyck  in  the  gracefulness  of  his  figures,  yet  he 
gave  a  life,  dignity  and  truth  to  his  portraits  which  has 
seldom  been  surpassed.  His  works  are  highly  esteemed, 
and  are  to  be  found  only  in  the  big  galleries  and  the  col- 
lections of  the  nobility  of  England.  Specimens  can  be  seen 
in  the  superb  galleries  at  Wilton,  Belvoir,  Chatsworth, 
Blenheim.,  Stowe,  Windsor,  Chiswick,  Devonshire  House, 
Castle  Donnington,  Althorpe,  etc." 

— Spooner's  History  of  the  Fine  Arts. 

"Vandyck,  passing  a  shop  on  Snowhill,  perceived  a  pic- 
ture exposed  for  sale  in  the  window  which  had  sufficient 
merit  to  excite  his  curiosity  to  discover  the  painter,  whom 
he  found  at  work  in  a  miserable  garret.  The  well  known 
liberality  of  Vandyck  soon  relieved  him  from  his  wretched 
situation;  he  afterwards  introduced  him  to  the  king  and 
zealously  recommended  him  to  his  Majesty's  protection. 
On  the  death  of  Vandyck,  Dobson  was  appointed  sergeanr- 
painter  to  the  king,  whom  he  accompanied  to  Oxford, 


32  T.  B.  WALKER  COLLECTION. 


where  he  painted  his  portrait,  that  of  Prince  Rupert  and 
several  of  the  nobility. 

**Of  the  painters  of  his  time,  Dobson  appears  to  have 
approached  nearest  to  the  excellent  Vandyck.  His  por- 
traits are  faithful  transcripts  of  nature,  and  although  he 
was  not  equally  successful  in  his  historical  pictures,  the 
few  of  them  that  he  painted  are  not  without  considerable 
merit.  One  of  his  best  works  in  history  is  the  'Decollation 
of  St.  John,'  at  Wilton.  Several  portraits  by  Dobson  are 
in  the  Northumberland  House,  at  Chatsworth,  in  Devon- 
shire House,  and  other  mansions  of  nobility/' 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

"Charles  I  distinguished  him  by  the  name  of  the  Eng- 
lish Tintoret.  While  at  Oxford  he  also  painted  the  por- 
traits of  the  Prince  of  Wales,  Prince  Rupert,  and  many  of 
the  nobility. 

"He  was  certainly  one  of  the  most  eminent  painters  of 
his  time,  and  an  equal  honor  to  the  art  and  to  his  native 
country.  His  manner  is  bold  and  free  and  has  an  abun- 
dance of  sweetness  with  a  charming  tone  of  color;  and 
though  inferior  to  Vandyck  in  the  gracefulness  of  his  fig- 
ures, yet  he  gave  life,  dignity,  and  sentiment  to  his  por- 
traits; and  for  truth,  character  and  resemblance  few  have 
surpassed  him."  — Pilkington's  Dictionary  of  Painters. 

**The  portraits  by  him  are  warmer  in  color  than  those 
by  Vandyck,  but  they  are  lifelike,  and,  it  is  said,  were 
capital  likenesses."  — Painters  and  Their  Works. 

No.  27— "Crowning  of  the  Virgin." 

26^/^  x38i/^. 
With  Henrietta  Maria  as  the  Virgin. 
She  is  represented  as  seated  by  a  table    holding  two 
white  doves  which  (as  the  custom  was)  she  has  brought  to 
the  temple  as  an  offering  for  her  purification.    Her  simple 


INDEX  AND  BIOGRAPHICAL  NOTES.  33 


dress  and  flowing  mantle  are  done  in  the  beautiful  colors 
and  arrangement  peculiar  to  this  great  English  master. 
Three  angels  hover  over  her,  holding  a  wreath  of  laurel, 
with  which  to  crown  her  as  soon  as  her  offering  is  made. 
This  is  said  to  be  a  splendid  likeness  of  Henrietta  Maria. 

DUPRE  (Jules)   France 

Born  at  Nantes,  1812. 
Landscape  painter — one  of  the  most  original  and  powerful 
of  the  modern  French  school. 
Medals,  1833  and  1867. 
Legion  of  Honor,  1849. 
Officer  of  the  Legion  of  Honor,  1870. 
Died,  1890. 

"As  a  boy  this  painter  studied  design  in  the  porcelain 
manufactory  of  his  father;  at  length  he  essayed  oil  paint- 
ing and  made  his  debut  at  the  Salon  of  1831  with  five 
landscapes.  He  became  almost  immediately  one  of  the 
favorites  in  public  opinion;  his  farms,  his  cottages,  his  old 
oaks  on  the  borders  of  pools,  with  cows  ruminating  about, 
his  plentiful  pastures  where  horses  run  with  flowing  manes, 
his  mills  which  profile  their  silhouettes  on  a  stormy  sky, 
have  a  simple  and  truthful  side  which  captivates  all  the 
world. 

"One  may  have  more  or  less  sympathy  with  the  works 
of  Rousseau,  or  with  those  of  Dupre,  but  these  two  mas- 
ters will  remain  incontestably  as  the  two  grandest  color- 
ists  in  landscape  which  the  contemporaneous  school  has 
produced." 

— Clement  and  Mutton's  Artists  of  the  Nineteenth  Century. 

"Dupre  is  original,  powerful  and  brilliant,  and  now 
stands  as  the  oldest  representative  French  landscapist." 

— Radcliffe's  Schools  and  Masters  of  Painting. 


34  T.  B.  WALKER  COLLECTION. 


No.  28— "A  Wooded  Pasture  in  Brittany." 

18x30^/^. 

As  far  as  the  eye  can  reach  is  one  expanse  of  wooded 
meadows  with  waving  reeds  and  grisses.  In  the  fore- 
ground some  cows  are  seen  coming  down  to  the  pool  of 
crystal  water,  in  which  is  mirrored  the  sunset  glory  of 
the  summer  clouds  and  the  deep  blue  of  the  southern  sky. 
A  very  interesting  example  of  this  master's  work. 


ERNST  (Rodolphe)   Hungary 

Born  at  Vienna. 

Pupil  of  Feurbach  at  Vienna  Academy. 

One  of  his  paintings  was  purchased  by  the  French  Gov- 
ernment and  is  on  exhibition  in  the  Luxembourg  Gallery. 

No.  29— "Queen  Salome  and  Her  Pet  Tigers." 

28x36. 

Queen  Salome  was  the  wife  of  King  Alexander  Jannseus. 
She  reigned  as  queen  of  Israel  from  the  death  of  her  hus- 
band B.  C.  79  until  B.  C.  69.  She  was  renowned  as  one  of 
the  most  beautiful  women  of  that  period.  The  painting  por- 
trays the  queen  surrounded  by  oriental  grandeur,  ascending 
a  stairway  in  the  palace.  On  either  side  of  the  stairway 
are  seen  her  pet  Bengal  tigers  who  arise  to  meet  their  royal 
mistress.  The  subject  is  well  chosen,  the  work  that  of  a 
master,  and  the  completed  painting  very  pleasing  and  har- 
monious. 


FAULKNER  (Herbert  W.). 


INDEX  AND  BIOGRAPHICAL  NOTES. 


35 


*No.  30— "Settling  the  Quarrel." 

60  X  80. 

A  characteristic  scene  from  the  times  of  the  thirty  years' 
German  war.  Two  cavaliers  have  had  a  quarrel  which 
arose  from  drinking.  One  of  them  has  become  intoxicated 
and  is  asleep  in  his  chair.  The  other  is  returning  with  his 
weapon,  determined  to  settle  the  quarrel  by  the  sword, 
while  the  landlord  of  the  inn  is  seeking  to  mollify  the 
angry  Teuton  and  avoid  a  scene  in  his  house.  The  pic- 
ture is  very  realistic  and  would  be  a  credit  to  any  of  the 
best  known  artists  of  recent  times. 


FERRIER  (J.  M.  A.  Gabriel)  France 

Born  at  Nimes,  1847. 
Pupil  of  Lecoq  de  Boisbaudran. 
Won  Grand  Prix  de  Rome,  1872. 
Medals,  1876  and  1878. 
Legion  of  Honor,  1884. 


No.  31— "Hamlet  and  Ophelia." 

27  X  381/4. 

Who  can  look  on  a  picture  of  that  nearly  distracted 
Prince  of  Denmark  without  feeling  pity  and  consideration 
for  his  youthful  suffering?  We  are  apt  to  think  of  Hamlet 
only  as  he  is  portrayed  on  the  stage.  In  the  play  we  lose 
our  feeling  for  the  boy  in  our  admiration  for  the  actor. 
There  is  none  of  this  in  Ferrier's  treatment  of  the  subject. 
There  is  no  taint  of  the  stage  scene  about  it.  The  young 
Hamlet,  scarce  more  than  a  boy,  his  white,  drawn  face  a 
pitiful  contrast  to  his  dark  and  mourning  attire,  stands 
erectj  his  straight^  slim  figure  relieved  by  the  sweeping 


36  T.  B.  WALKER  COLLECTION. 


folds  of  his  black  mantle.  Ophelia,  seated  by  his  side,  one 
hand  on  his  shoulder,  the  other  clasped  in  his,  her  sweet, 
sad  face,  questioning,  upraised  to  his,  shows  sorrowing, 
frightened  solicitude.  Beyond,  can  be  seen  the  play  in 
progress,  and  the  startled  king  and  queen  on  their  throne. 
The  picture  is  pitiful  and  strong;  the  colors  soft  and  deli- 
cate, dark  and  rich. 

FOSCARI  (A.). 

An  Italian  painter. 
Studied  under  Zeim  and  Rocco. 

^No.  32— "Evening  in  Venice." 

39  X  20. 

View  of  the  Grand  Canal,  Venice,  at  night.  In  the  cen- 
ter of  the  canvas,  and  just  above  the  building  tops,  the 
full  moon  is  rising.  Through  the  darkness  the  dim  out- 
lines of  the  Palace  of  the  Doges,  and  the  spires  and  turrets 
of  the  surrounding  buildings  are  visible.  In  the  fore- 
ground a  gondolier  is  propelling  his  barge.  The  many 
lights  from  the  windows  of  the  buildings  along  the  shore 
aid  in  making  the  scene  one  of  placitude  and  repose. 

GIGNOUX  (Regis). 

Born  in  Lyons  in  1816. 
Died  in  1882. 
Landscape  painter. 
First  instructed  at  Freiburg,  Breisgau,  then  pupil  of  Lyons 
Academy,  and  in  Paris  of  the  Ecole  des  Beaux  Arts, 
and  of  Delaroche. 
Went  to  America  in  1844,  became  member  of  the  National 
Academy  in  New  York  in  1851,  and  returned  to 
prapce  in  1870, 


INDEX  AND  BIOGRAPHICAL  NOTES.  37 


No.  33 — "A  Mountain  Landscape." 

35  X  49. 

This  is  one  of  Gignoux's  larger  and  most  successful 
American  landscapes.  In  the  center  of  the  picture  is  a 
small  lake  of  crystal  water  in  which  is  mirrored  the  pre- 
cipitous mountains  surrounding  it  on  every  side,  the  one 
on  the  left  rearing  its  summit  to  a  point  above  the  clouds. 
In  the  valley  at  the  foot  of  the  rugged  peaks  a  settler  has 
built  a  humble  cottage,  pasturing  his  flocks  in  the  foot- 
hills, and  rearing  his  family  in  these  most  pleasant  sur- 
roundings where  Nature  seems  to  have  exhausted  itself  in 
making  a  beauty  spot  for  man's  abiding  place.  In  the 
higher  valley  to  the  right  the  mellow  rays  of  the  sun  dis- 
pel the  shadows,  while  farther  on  arises  peak  after  peak, 
until  their  outline  is  lost  to  view  in  the  dim  distance. 

GAINSBOROUGH  (Thomas),  R.  A. 

Born  at  Sudbury  in  1727. 
Died  at  London,  1788. 
Pupil  of  Gravelot. 
Went  to  London  in  his  fifteenth  year  (1741). 
Worked  for  three  years  in  the  Martins  Lane  Academy 

under  Frank  Hayman,  the  historical  painter. 
Returned  to  Sudbury  in  1745  and  began  as  a  portrait 
painter.    Removed  to  Ipswich,  and  in  1760  to  Bath. 
On  the  foundation  of  the  Royal  Academy,  in  1768,  he  was 
one  of  the  thirty-six  original  members. 
Bryant  says: 

"Gainsborough  will  always  occupy  one  of  the  highest 
places  in  the  English  school,  whether  as  a  portrait  or  land- 
scape painter.  In  his  early  landscapes  he  showed  traces  of 
the  influence  of  the  Flemish  school,  but  as  time  went  on 
nature  alone  became  his  mistress.    As  a  colorist  he  ranks 


38  T.  B.  WALKER  COLLECTION. 


with  Rubens,  and  in  technical  work  Ruskin  says,  'Turner 
is  a  child  to  him.'    All  the  great  galleries  contain  his  works, 
there  being  twelve  in  the  National  Gallery  at  London." 
Ruskin  says: 

"Gainsborough's  power  of  color  is  capable  of  taking 
rank  beside  that  of  Rubens;  he  is  the  purest  colorist  (Sir 
Joshua  himself  not  excepted)  of  the  whole  English  school, 
Turner  himself  being,  in  management  and  quality  of  single 
and  particular  tint,  in  the  purely  technical  part  of  painting, 
a  child  to  Gainsborough." 

Mr.  Chas.  D.  Pratt,  art  critic  of  the  Alaska-Yukon- 
Pacific  Exposition,  says  of  this  artist's  work  represented: 
"There  are  three  Gainsboroughs:  ''Gentleman  in  Blue," 
"Girl  Tending  Pigs"  and  "Miss  Margaret  Burr,"  the  ar- 
tist's wife.  Gainsborough  disliked  all  conventionalities 
and  formulas,  going  direct  to  nature.  He  strove  for  all 
that  was  noble,  pure  and  true.  His  portraits  are  remark- 
able for  their  striking  resemblance." 


No.  34 — "Gentleman  in  Blue.'' 

From  the  collection  of  S.  T.  Smith,  Duke  Street,  London. 

(Mr.  Smith  is  the  author  of  the  important  Catalogue  Rai- 

sonne.) 

This  picture  was  painted  soon  after  the  "Blue  Boy," 
which  Gainsborough  painted  in  order  to  prove  to  Sir  Josh- 
ua Reynolds  that  blue  was  a  most  beautiful  pigment  when 
rightly  used;  to  which  Sir  Joshua  most  strenuously  ob- 
jected. After  seeing  Gainsborough's  "Blue  Boy,"  how- 
ever, Reynolds  acknowledged  this  to  be  one  of  the  finest 
pictures  ever  painted.  This  color  at  that  time  was  the 
most  popular  for  gentlemen's  and  boys'  wear  and  was  em- 
ployed again  in  this  no  less  wonderful  painting,  "The  Gen- 
tleman in  Blue."   The  portrait  is  that  of  a  prominent  man 


MLrEX  AND  BIOGRAPHICAL  NOTES.  39 


of  the  times,  and  is  a  characteristic  painting  by  this  great 
English  colorisl. 

DE  HAAS  (J,  H.  L.)  Holland 

B(.rn  at  Rotterdam,  Holland,  1832. 
Pupil  of  Van  Oos  and  the  Brussels  Academy. 
Chevalier  and  Commander  (with  the  star)  of  the  Order 
of  Isabella  the  Catholic,  of  Spain. 
Chevalier  and  Commander  of  the  Order  of  Leopold, 
of  Belgium. 

Chevalier  and  Commander  of  the  Order  of  the 
Couronne  d'Cheve  of  Holland. 
Chevalier  and  Officer  of  the  Order  of  Merit  of  St.  Michael 
of  Bavaria. 

Chevalier  of  the  Order  of  the  Crown  of  Prussia. 
Chevalier  of  the  Order  of  Francis  Joseph  de  Suesse. 
Member  of  the  Academy  of  St.  Ferdinand  of  Spain. 
Member  of  the  Royal  Academies  of  Amsterdam,  Rotter- 
dam and  Antwerp. 
Grand  gold  medal,  Utrecht  Exposition,  1868 
Grand  gold  medal,  Munich  Exposition,  1869. 
Medal  of  Honor  at  Amsterdam,  1883. 
Thirteenth  Exhibition  New  Bristol  Museum. — *'On  en- 
tering we  find  the  'place  of  honor'  nobly  filled  by  J.  H.  L. 
De  Haas,  one  of  the  greatest  of  living  animal  painters.  A 
group  of  well-fed  cattle,  splendidly  drawn  and  modeled,  is 
resting  at  summer-noon  on  the  pastures  which  run  down 
on  the  'Sea-coast  at  Picardy.'    The  fidelity  with  which  the 
breed  of  cattle  is  represented,  the  local  truthfulness  of  the 
scene,  and  the  solidity  with  which  the  whole  is  painted 
must  call  forth  the  admiration  of  everyone." 

— London  Art  Journal. 


40  T.  B.  WALKER  COLLECTION. 


*No.  35— 'Contentment/' 

22x  IQi/^. 

In  a  sunny,  open  field,  a  pair  of  cattle  stand,  calm-eyed 
and  quiet.  In  the  distance  others  are  seen  feeding  upon 
the  tall  grass. 

HAMILTON   (James)   Ireland 

Born  in  Ireland,  1819.    Died,  1878. 
Studied  in  Philadelphia  and  in  England. 
Was  selected  by  Dr.  Kane  as  illustrator  on  his 
Arctic  Explorations. 
Particularly  successful  for  his  marine  views. 
''But  our  ablest  marine  painter  of  this  period  seems  to 
have  been  James  Hamilton,  of  Philadelphia,  who  was  be- 
yond question  an  artist  of  genius.    He  was  inspired  with  a 
genuine  enthusiasm  for  the  sea,  and  rendered  the  wildest 
and  grandest  effects  of  ocean  with  breadth,  massiveness 
and  power.  We  have  no  marine  painter  about  whose  works 
there  is  more  of  the  raciness  and  flavor  of  the  blue  water.'* 

— Benjamin's  Art  in  America. 

*No.  36— "After  a  Storm  off  the  Coast  of 
Newfoundland." 

43^^x29. 

In  the  foreground  the  sea  swells  in  long  rollers  under 
a  gray  and  windy  sky.  A  fishing  smack  with  sails  furled 
is  weathering  the  storm.  To  the  right  and  left  other  fish- 
ing smacks  are  seen.  The  sea  is  lashing  the  little  boats 
and  their  occupants  on  its  foam-fringed  waves,  which  break 
in  heavy  lines  across  the  foreground. 


INDEX  AND  BIOGRAPHICAL  NOTES.  41 


HART  (James  McDougal),  N.  A  New  York 

Born  at  Kilmarnock,  Scotland,  1828. 
Brother  of  Wm.  Hart,  N.  A. 
Brought  to  America,  1831. 
Studied  with  Schirmer,  in  Diisseldorf. 
Member  of  the  National  Academy,  New  York,  1859. 

c 

*No.  37— "Landscape  and  Cattle." 

13x17. 

A  herd  of  cattle  on  a  country  road  leading  through  a 
densely  wooded  district.  By  the  roadside  is  a  small  pool 
into  which  one  of  the  animals  has  strayed.  Farther  down 
the  road,  on  the  right,  is  a  cottage  among  the  trees. 
Through  the  opening  in  the  tree-tops  a  clear  blue  sky  is 
seen.  In  this  landscape  the  artist  has  shown  great  knowl- 
edge of  natural  beauties.    One  of  his  later  works. 

HIGHMORE  (Joseph). 

Born  in  London  in  1692. 
Died  at  Canterbury  in  1870. 
History  and  portrait  painter. 
Pupil  of  the  Academy  under  Sir  Godfrey  Kneller. 

No.  38— "Miss  Adair  Playing  the  Lute." 

661/^x39. 

Daughter  of  James  Adair,  Sergeant-at-Arms  and  Re- 
corder of  London.  At  the  time  of  his  death  (July  21,  1798) 
he  was  the  King's  Prince  Sergeant-at-Law,  M.  P.  for 
Higham  Ferras,  and  Chief-Justice  of  Chester.  During  his 
life  he  wrote  several  notable  works  on  law  and  practice. 


42  T.  B.  WALKER  COLLECTION. 


It  is  not  probable  that  Highmore  ever  painted  a  more  beau- 
tiful portrait.  Being  most  fortunate  in  selection  of  a  sub- 
ject, he  has  succeeded  in  portraying  in  a  pleasing  and  ar 
tistic  manner  a  beautiful  woman  in  the  very  springtime  of 
mature  womanhood,  as  well  as  the  attainments  that  make 
her  attractive.  One  can  all  but  hear  the  rustle  of  the  silk- 
en robes  and  the  sweet  tones  of  the  mellow  lute. 


INNESS  (George),  N.  A..........  New  York 

Born  at  Newburgh,  N.  Y.,  1825. 

Died  at  the  Bridge  of  Allan,  Scotland,  1894. 

Studied  art  at  Newark,  N.  J.,  and  engraving  at  New  York. 
Elected  Associate  of  the  National  Academy  of  Design, 
1853,  and  a  full  Academician,  1868. 

Visited  Europe  twice  and  lived  some  time  at 

Florence  and  Rome. 

"Mr.  Inness  was  the  foremost  American  landscape  paint- 
er and  one  of  the  most  able  and  individual  of  contemporary 
landscapists.  He  takes  rank  with  such  masters  as  the 
men  who  have  made  the  Barbazon  school  the  most  bril- 
liant phase  of  French  art,  Corot,  Rousseau  and  Dupre. 
While  his  technique  was  faultless,  his  drawing  forcible,  and 
his  coloring  brilliant,  his  fame  rested  upon  the  subjective 
quality  of  his  art.  He  loved  Nature^  and  sympathized  with 
her  in  her  moods." 

— New  York  World,  August  5,  1894. 

*/Mr.  Inness  ranked  as  a  painter  with  Rousseau,  Corot, 
Diaz  and  Dupre.  His  death,  with  that  of  Wyant,  a  couple 
of  years  ago,  removes  from  the  scene  the  two  great  Amer- 
ican painters  of  landscape." 

— News,  Newark,  N.  J.,  1894. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


43 


*No.  39— "Cromwell's  Bridge.'' 

30x19^. 

This  bridge  was  built  by  Cromwell  in  Ireland,  1649. 

INNESS  (George,  Jr.). 

Born  in  New  York  City,  July  5th,  1854. 
V       Pupil  of  his  father,  George  Inness,  Sr. 
Studied  under  Leon  Bonnat  in  Paris.  Sketched  in  different 
parts  of  Europe. 

Mr.  Inness  has  produced  some  of  the  finest  landscapes  of 
any  of  the  modern  artists,  somewhat  in  the  manner  of  the 
work  of  his  father,  yet  more  refined  and  beautiful  in  color, 
tone  and  effect.  George  Inness,  Sr.,  produced  some  mag- 
nificent paintings,  but  it  was  only  when  he  caught  an  in- 
spiration and  color  scheme  and  composition  that  he  occa- 
sionally reached.  His  son  is  more  successful  in  producing, 
almost  always^  a  fine  landscape.  He  has  also  added  figures 
and  with  success  produced  religious  pictures.  He  is  better 
known  in  France  than  in  this  country,  as  he  has  been  there 
for  a  number  of  years,  studying  and  working  with  the 
French  art  schools. 

Arsene  Alexandre,  who  is  regarded,  perhaps,  as  foremost 
art  critic  in  Europe,  says  of  the  exhibition  containing  In- 
ness' pictures  as  follows:  "The  profoundest  sentiment,  the 
simplicity  of  motive,  and  the  richness  of  execution,  render 
the  landscapes  of  George  Inness,  Jr.,  particularly  attract- 
ive. They  show  the  mark  of  a  true  artist  and  an  excel- 
lent painter.  Thus  do  they  command  the  greatest  consid- 
eration. It  would  be  impossible  to  come  before  the  pub- 
lic with  more  discretion  and  modesty  than  Mr.  Inness  has 
put  into  his  work.  In  truth,  this  is  contrary  to  all  the 
examples  shown.  In  return  he  gives  us  beautiful  motives, 
very  simple,  taken  from  the  grandest  nature,  or  more  ex- 
actly in  the  grandest  meditation  before  nature,  his  color 


44  T.  B.  WALKER  COLLECTION. 


always  very  rich  and  sometimes  of  great  intensity,  but 
without  unnecessary  violence.  Finally,  this  reflection, 
this  personal  participation  of  the  painter,  in  the  scenes 
which  he  gives  us,  is  an  indispensable  condition,  not 
only  to  make  good  studies,  but  more  to  make  fine  pic- 
tures." 

The  painter  truly  deserving  the  name  makes  provision  of 
sentiment  from  nature,  but  it  is  only  when  shut  into  his 
own  home  that  he  begins  really  to  be  free — when  he  ar- 
ranges, enriches,  embellishes  and  composes  his  work.  By 
this  operation  the  painting  becomes  a  rare  object,  and  one 
remains  a  long  time  before  it  in  repose,  because  it  was  a 
long  time  loved.  There  la  very  little  chance  that  Ruysdael, 
Corot,  Rousseau,  who  worked  thus,  should  be  mistaken. 

Inness  is  an  American  who  had  for  his  master,  his  fath- 
er, a  celebrated  artist  of  the  United  States.  He  has  worked 
much  in  France  and  it  is  here  that  he  feels  himself  most 
at  his  ease  to  dream  and  work. 

"There  is  a  great  variety  of  motive  in  these  pictures  and 
a  grand  unity  of  temperament.  This  sentiment  is  earnest 
and  profound.  The  silver  hours,  and  the  golden  hours, 
please  him  above  all — the  clear  hours,  but  still  always  mys- 
terious, where  the  earth  and  the  sky  embrace,  or  again,  the 
hours  most  mysterious,  where  the  earth  awakes  and  the 
sky  dreams — silver  fogs  of  the  morning,  golden  fogs  of  the 
evening,  veils  infinitely  rich  and  transparent,  which  the 
painter  so  well  sees  from  a  distance,  but  in  which  he  makes 
one  feel  the  palpitation  of  life. 

*'From  time  to  time  he  shows  the  fresh  and  bright  ap- 
pearance of  things,  but  there  still,  as  in  certain  pictures  of 
forests,  one  sees  the  richness  of  the  pictorial  matter  invest- 
ed by  clearness  of  motive.  Several  pictures  amidst  the 
numerous  witnesses  show  to  us  mighty  effects  in  different 
styles. 

"The  Venice,  so  harmonious,  and  in  which  the  lines  take 
so  much  grandeur.     The  pond,  in  the  charming  fresh 


INDEX  AND  BIOGRAPHICAL  NOTES.  45 


morning,  so  delicately  surrounded  by  vapors.  The  plain 
over  which  rolls  a  stormy  sky  and  in  which  advances  a 
black  and  smoking  train — a  canvas  as  happy  as  courageous. 
Or  still  another  picture  which  shows  not  less  courage,  and 
is  not  less  successful,  where  one  sees  the  tops  of  the 
houses  lit  by  the  sun  of  an  evening  in  autumn,  while  in  the 
sky,  changeable  like  silk,  are  proudly  lifted  the  chimneys 
of  a  factory.  This  is  what  can  be  made  of  a  subject  in 
which  fceauty  is  not  perceived  by  the  greater  part  of  the 
passing  world — by  a  man  who  is  a  true  colorist  and  has 
the  emotions  of  a  poet. 

*'A11  this  makes  the  joy  of  painting,  but  a  calm,  reflect- 
ive joy,  which  is  only  gotten  at  the  price  of  much  trouble, 
many  struggles  and  intense  anxiety. 

"Mr.  Inness  does  not  show  himself  a  landscapist.  He 
has  several  times  tried  to  render  his  thoughts  under  sub- 
jects borrowed  from  the  Scriptures,  as  in  'The  Entomb- 
ment,' or  in  'The  Golgotha,'  where  he  shows  an  original 
composition,  and  a  fine  light.  More  than  once  one  sees 
appearing  before  him  his  destiny  of  rich  and  moving  land- 
scapist, the  sight  of  which  will  be  the  reward  offered  by 
his  imagination  to  his  merit." 


No.  40— "Simple  Country  Life." 

25x31. 

In  the  broad  meadows  of  the  Delaware  two  girls  are 
watching  the  herd,  while  several  cows  regale  themselves  in 
the  running  brook.  The  sun  dips  low  in  the  west,  shedding 
his  glory  in  the  o'erhanging  clouds,  while  the  robin  sings 
his  evening  song  in  the  neighboring  trees,  A  very  satis- 
factory picture, 


46 


T.  B.  WALKER  COLLECTION. 


No.  41 — "Delaware  Meadows." 

241/^x31^4. 

Another  of  Inness'  favorite  subjects.  As  the  shadows 
deepen  and  the  subdued  rays  of  sunset  turn  the  sky  to 
gold,  an  old  lady  brings  home  from  the  pasture  the  lazy 
cows.  The  birds  forget  their  song  and  seek  their  nests  in 
neighboring  trees^  while  far  away  in  the  shadowy  forests 
is  heard  the  shrill  tone  of  the  whippoorwill.  This  paint- 
ing portrays,  in  a  marked  degree,  th'^  oeculiarities  of  this 
artist. 


JACQUE  (Charles  Emile)   Paris 

Born  at  Paris,  1813. 

First  President  of  the  French  Society  of  Animal  Painters. 
Medals,  1851,  1861,  1863,  1864. 
Hors  Concours. 

He  died  in  1893,  rich  and  honored,  and  the  sale  of  his 
studio  collection  in  1894,  by  auction  in  Paris,  produced  the 
noteworthy  return  of  over  600,000  francs. 

"His  pictures  of  life  are  marvelous  in  their  minute  repre- 
sentations, not  only  in  the  larger  objects,  but  in  the  de- 
tails." — Artists  of  the  Nineteenth  Century. 

"Why  have  Charles  Jacque's  works  such  a  powerful 
charm?  It  is  because  they  always  show  us  things  or  per- 
sons such  as  they  are  in  nature;  because  he  studied  them 
in  the  course  of  their  usual  life  and  avocations;  and  be- 
cause this  sincerity  carries  us  without  effect  to  the  scene- 
that  he  chooses  to  represent." 

— Artists  of  the  Nineteenth  Century. 

"Few  artists  have  a  more  widely  extended  or  a  better 
d^serv^d  reputatioq."  — Cyclopedia  of  Painter^. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


47 


"But  the  most  incredible  and  ironical  fact,  in  the  glorious 
existence  of  an  artist^  is  that  medaled  for  painting  in  1849, 
1863  and  1864 — all  third  class  medals,  Charles  Jacque  has 
obtained  in  all  seven  medals,  of  which  not  one,  it  seems 
incredible,  has  gone  beyond  the  third  class.  He  is,  without 
doubt,  the  only  one  among  the  painters  and  engravers  who 
has  received  seven  third-class  medals.  Certainly  he  would 
be  justified  in  lightly  valuing  official  recompenses,  for  he 
is  superior  to  the  highest." 

— Jules  Claretie,  GoiipiTs  Great  Modern  Painters^  i8g4. 


^No.  42— "The  Corner  of  the  Meadow." 

27  X  161/^. 

In  a  pasture  lot_,  among  the  scattering  clumps  of  trees,  a 
number  of  sheep  and  cattle  are  feeding.  The  central 
figure,  a  white  cow,  stands  strongly  drawn  against  a  ground 
of  dark  green  foliage. 


JAZET  (Paul  Leon)   Paris 

'  Born  at  Paris. 

Pupil  of  Barrais. 


*No.  43— "Death  of  Nelson." 

92  X  42. 

This  time  the  French  have  done  with  Nelson.  "There 
is  no  hope,  Hardy,  I  am  dying." 

Jazet  is  more  than  an  illustrious  soldier  painter,  he  is 
a  master.  None  but  a  master  could  compose  such  a  pic- 
ture as  this.  The  picture  is  whole — complete  in  one  scene. 
The  mind  is  impressed  at  the  first  glance  with  that  group 
around  the  capstan,  the  solicitous  Hardy  as  he  springs  to 


48  T.  B.  WALKER  COLLECTION. 


the  assistance  of  his  stricken  commander,  the  blanched 
face  and  reeling  figure  of  Lord  Nelson,  the  dying  sailors, 
the  wounded  surgeon,  struck  while  flying  to  his  master's 
aid;  all  form  a  central  group  that  would  hold  the  attention 
if  there  were  nothing  more  to  the  picture.  But  there  is 
more — the  fearful  realities  of  marine  warfare  are  seen  on 
every  side.  See  this  poor  boy;  that  awful  gash  in  his  side 
will  soon  end  his  young  life.  See  on  the  deck  beside  him 
that  stalwart  black,  how  his  dark  skin  contrasts  with  the 
boy's  pale  face.  See  those  gunners,  how  grimly  in  ear- 
nest; and  this  officer,  shouting  orders  through  his  trumpet. 
See  those  men  trying  to  board  the  vessel  on  a  spar;  how 
the  gunners  are  fighting  them  back  with  ramrods,  spong- 
es, hatchets,  anything  they  can  lay  their  hands  on.  All 
around  the  boat  is  a  forest  of  masts  and  rigging,  swarming 
with  men.  Everywhere  smoke  and  bloodshed  attest  the 
presence  of  grim-visaged  war  and  compel  the  spectator  to 
live  over  again  that  battle  around  the  ''Victory." 

This  picture  has  been  copied,  re-copied  and  engraved, 
until  its  fame  has  become  world-wide. 


JOHNSON  (David),  N.  A  New  York 

Born  at  New  York,  1827. 
Elected  a  member  of  the  National  Academy, 
New  York,  1862. 
Medal,  Philadelphia,  1876. 
One  of  the  founders  of  the  Artists'  Fund  Society. 

*No.  44—  A  Clearing— Mt.  Lafayette,  N.  H." 

14x26^/^. 

Painted  to  order. 

A  New  Hampshire  clearing.  In  the  distance  are  the 
cloud-capped  mountains.  Just  outside  the  meadow  fence 
an  old-fashioned  four-horse  coach  can  be  seen. 


INDEX  AND  BIOGRAPHTCAL  NOTES.  49 


KAULBACH  (Wilhelm  von). 

A  German  historical  painter. 

Born  at  Arolsen,  Westphalia,  1805. 

Studied  under  Cornelius,  at  Diisseldorf  Academy. 

Went  to  Munich  in  1825. 

In  1847  he  was  called  to  Berlin  to  decorate  the  Staircase 

Hart  of  the  New  Museum,  which  occupied  him  many 
years. 

Appointed  Director  of  the  Munich  Academy  in  1849. 
Officer  of  the  Legion  of  Honor. 
Grand  Commander  of  St.  Michael. 
Commander  of  the  Order  of  Francis  Joseph. 

Corresponding  member  of  the  Institute  of  France,  and 
member  of  several  Academies. 

''Kaulbach  made  many  designs  for  book  illustrations, 
among  them  those  of  Reynard  the  Fox,  Goethe's  Faust, 
The  Gospels,  Dance  of  Death,  the  works  of  Shakespeare 
and  Schiller  and  Wagner's  operas.  Despite  his  manner- 
isms, he  was  one  of  the  greatest  modern  German  painters, 
and,  with  his  master,  Cornelius,  represents  the  new  Munich 
school  during  the  reign  of  King  Louis  of  Bavaria." 

— Cyclopedia  of  Painters. 

"Kaulbach,  who  has  just  passed  away,  is  the  German 
artist  of  this  century — perhaps  the  best  known  abroad. 
Less  conventional  than  his  predecessors,  he  undoubtedly 
possessed  a  vast  genius."  — Benjamin. 

"The  training,  experience  and  opportunities  of  Kaulbach 
have  been  extraordinary;  he  became  a  prime  mover  in  one 
of  the  most  signal  of  art  manifestations  known  in  modern 
times;  he  matured,  after  example  of  the  masters  of  the 


50 


T.  B.  WALKER  COLLECTION. 


middle  ages,  the  practice  of  mural  or  monumental  decora- 
tions; he  once  more  conjoined  painting  with  architecture 
and  display,  a  creative  fertility  and  readiness  of  resource 
scarcely  found  since  the  era  of  Raphael  and  Michael  An- 
gelo."  — Encyclopedia  Britannica. 


*No.  45— "The  Fall  of  Babel." 

72x60. 

Cartoon  for  mural  painting,  Staircase  Hall,  New  Mu- 
seum, Berlin.  The  dispersion  of  the  nations  at  the  fall  of 
Babel.  Nimrod,  seated  with  his  wife  and  children  upon 
the  golden  throne  in  front  of  the  Tower  of  Babel,  which 
is  falling  in  ruins,  an  overthrown  idol  at  his  feet,  defies 
Jehovah,  who  is  seen  above  in  the  clouds,  surrounded  by 
angels  hurling  thunderbolts.  At  the  right  his  servants  and 
priests  deride  the  Almighty;  below  the  children  of  Shem, 
Ham  and  Japhet  are  dispersing. 

This  painting  was  purchased  by  Wimmer  8i  Co.,  of  Mu- 
nich, of  Kaulbach's  son  after  his  father's  death,  and  sold  b}^ 
them  to  Sir  James  Duncan,  of  London,  and,  at  the  sale  of 
his  collection,  which  constituted  one  of  the  largest  and 
finest  private  galleries  in  the  world,  was  purchased  by  the 
present  owner. 

"This  artist  is  one  of  the  most  distinguished  of  the 
modern  German  school.  As  regards  the  first  picture  above 
mentioned,  'Tower  of  Babel,'  according  to  the  Holy  Scrip- 
tures, this  memorable  event  referred  to  coincides  with  the 
building  of  Babel  and  the  tyranny  and  wickedness  of  Nim- 
rod. The  artist  undertook  to  represent  in  a  grand  and 
highly  poetical  manner  the  fall  of  the  despot,  the  derelic- 
tion of  his  subjects  and  the  distribution  of  the  nation  after 
the  generation  of  Shem,  Ham  and  Japhet." 

— Henry  Oiterly. 


INDEX  AND  BIOGRAPHTCM.  NOTES.  51 


KNELLER  (Godfroid)  (Sir  Godfrey). 

Born  at  Lubeck.  1646. 
Died  at  Twickenham,  Nov.  7,  1723. 
Studied  under  Rembrandt  and  Bol. 
''From  the  reign  of  Charles  IT  to  that  of  George  I,  Knell- 
er  was  court  painter,  and  there  was  hardly  a  person  of  dis- 
tinction who  lived  in  that  period  whose  portrait  was  not 
pamted  by  Sir  Godfrey  Kneller." 

— Painters  and  Their  Works,  Vol.  2,  Page  42. 
"Dutch  school;  portrait  painter,  studied  under  Rem- 
brandt and  Ferdinand  Bol^  at  Amsterdam,  and  in  Rome 
(1672-74)  under  Carlo  Maratta  and  Bernini  (?).  Went 
afterwards  to  Venice,  where  he  was  well  received  by  the 
leading  families  whose  portraits  he  painted." 
—Encyclopedia  of  Painters  and  Paintings,  Vol.  2,  Page  S93' 

No.  46— "Nell  Gwynn." 

22x301/^. 

From  the  collection  of  Lord  Edward  Fitzgerald,  Dublin. 

Eleanor  Gwynn — Nell  Gwinne,  an  English  actress  and 
celebrated  beauty — born  in  London  in  1650.  After  she  had 
achieved  success  as  an  actress  she  became  a  mistress  to 
Charles  IL    Died  about  1690. 

No.  47— **The  Duke  of  Marlborough.'' 

211/^x29. 

From  the  collection  of  W.  Delafield,  London. 
Originally  John  Churchill,  born  at  Ashee,  in  Devonshire, 
Tune  24th,  1650.  Queen  Anne  created  him  Duke  of  Marl- 
borough in  December,  1702.  As  commander-in-chief  of  the 
armies  of  Great  Britain  he  achieved  many  wonderful  vic- 
tories. 


52 


T.  B.  WALKER  COLLECTION. 


He  was  married  in  1678  to  Sarah  Jennings.  The  Duke 
once  remarked,  speaking  of  his  wife,  "I  can  without  fear 
stand  before  the  cannons  of  the  enemy,  but  I  can  not 
stand  before  Sarah  when  she  is  in  a  passion." 

He  died  in  1722. 


LAWRENCE  (Sir  Thomas)   England 

Born  at  Bristol,  1769.    Died  at  London,  1830. 
Entered  the  schools  of  the  Royal  Academy 
as  a  student,  1787. 
Elected  an  Associate  of  the  Royal  Academy,  1791. 
Received  the  Honor  of  Knighthood,  1815. 
Elected  President  of  the  Royal  Academy,  1820. 
Chevalier  of  the  Legion  of  Honor,  1825. 
''The  first  great  name  which  meets  the  student  of  paint- 
ing in  England  in  the  nineteenth  century  is  that  of  Sir 
Thomas  Lawrence." 

— N.  D'Anvers'  Elementary  History  of  Art. 
''Sir  Thomas  Lawrence  takes  rank  next  to  Reynolds  in 
the  numerous  band  of  British  portrait  painters." 

— Pilkington's  Dictionary  of  Painters. 


-No.  48— "Two  Brothers/' 

38  X  53. 

Painted  by  Sir  Thomas  Lawrence  in  1800;  engraved  by 
George  Clint  in  1802.  This  picture  represents  a  couple  of 
boys  whom  Lawrence  found  in  the  mountains,  and  who  so 
attracted  his  attention  that  he  made  this  picture.  The 
older  boy  is  leaning  against  the  rocks  on  the  mountain 
side,  and  the  smaller  brother  is  leaning  against  him,  with 
his  hand  on  his  breast.  It  is  painted  in  the  characteristic 
style  of  the  artist,  with  finely  toned,  rich  colors,  and  deep, 
strong  background. 


INDEX  AND  RTOGRAPHTCAT.  NOTES. 


53 


LELY  (Sir  Peter)  (Real  name  Peter  Van  der  Eaes). 
Born  at  Soest,  Westphalia,  1617. 
Portrait  painter,  Elemish  school. 
Appointed  court  painter  to  Charles  II. 
Died  in  London,  1680. 
"Through  the  influence  of  William,  Prince  of  Orange, 
Lely  was  presented  to  Charles  I,  whose  portrait  he  paint- 
ed, as  well  as  those  of  William  and  the  Princess  Mary. 
Thus  he  gained  great  reputation  and  encouragement,  and 
for  many  years  was  the  most  eminent  painter  in  England. 
His  works  are  characterized  by  a  beautiful  and  permanent 
coloring  and  graceful  attitudes." 

— Spooner's  History  of  the  Fine  Arts. 
"For  thirty  years   he  was  the   most  popular  portrait 
painter  in  England,  and  amassed  a  great  fortune.    His  por- 
traits are  of  elegant  conception,  clear  and  warm  coloring, 
hands  especially  finely  drawn."  — Cyclopedia. 


No.  49— "Portrait  of  Miss  Cavendish/' 

24  X  29. 

Beautiful  daughter  of  Lord  Cavendish,  Earl  of  Devon- 
shire, during  the  reign  of  Charles  II  and  appointed  Lord 
Steward  of  the  Royal  Household  under  King  Charles  III 
in  1689,  and  created  first  Duke  of  Devonshire  by  the  same 
sovereign  in  1694.  The  graceful  attitude  and  permanent, 
harmonious  colors  are  manifest  as  in  all  of  Sir  Lely's 
work. 

No.  50— "The  Duchess  of  Portland.'' 

From  the  collection  of  the  Viscount  Powerscourt. 
This  fine  example  of  Lely's  art  is  a  portrait  of  the  wife 
of  Hans  William   Bentick,  a  notable   Dutch  statesman 


54 


T.  B.  WALKER  COLLECTION. 


who  was  born  at  The  Hague  in  1648.  Sir  Peter  Lely  paint- 
ed this  portrait  of  Mrs.  Bentick  while  Bentick  resided 
at  The  Hague.  Lely  went  to  England  in  1640,  but  Ben- 
tick remained  at  The  Hague  until  1688,  when  he  went  to 
England  accompanied  by  the  Prince  of  Orange,  who  after- 
wards became  King  William  IIL  The  portrait  remained 
in  the  Bentick  family  until  after  William  III  had  con- 
ferred the  title  of  First  Duke  of  Portland  upon  Hans  Wil- 
liam Bentick,  when  the  painting  became  the  portrait  of 
the  Duchess  of  Portland,  which  was  upwards  of  twenty 
years  after  the  portrait  was  painted.  The  painting  then 
went  to  the  family  of  Richard  Wingfield,  Viscount  of 
Powerscourt,  and  remained  in  the  collection  of  this  family 
upwards  of  one  hundred  years. 

LEFEVRE  (Robert)   France 

Born  at  Bayeaux,  1756.    Died,  1831. 
Genre  and  portrait  painter.    Pupil  of  Regnault. 
Removed  to  Paris,  1784. 
Legion  of  Honor,  1814. 
Exhibited  in  many  Salons  from  1791  to  1827. 

His  celebrated  painting  "Cupid  Disarmed  by  Venus" 
(1795)  hangs  in  the  Louvre. 

*'He  painted  the  portraits  of  Napoleon  and  Josephine, 
and  made  twenty-seven  copies  for  different  princes  and 
dignitaries  of  Europe.  At  the  restoration  of  the  Bour- 
bons he  was  employed  to  paint  the  portraits  of  Louis 
XVIII  for  the  Chamber  of  Peers,  which  gained  for  him 
the  appointment  of  painter  to  the  King,  and  admission  to 
the  Legion  of  Honor.  Among  his  other  portraits  are  those 
of  Charles  X  and  the  Duchesses  d'Angouleme  and  de 
Berri." 

— Spooner's  History  of  the  Fine  Arts. 


INDEX  AND  BIOGRAPHICAL  NOTES.  55 


'*As  a  portrait  painter  he  enjoyed  a  high  reputation.  He 
painted  the  Emperor  Napoleon  I,  the  Empress  Josephine, 
Pope  Pius  VII,  and  all  the  principal  i)ersonages  of  the  Em- 
pire and  the  Restoration.  In  1814  he  was  commissioned 
to  paint  the  portrait  of  Louis  XVIII  for  the  Chamber  of 
Peers,  and  was  appointed  principal  painter  of  the  Cabinet 
and  Chamber  of  the  King,  and  made  a  Knight  of  the  Le- 
giori  of  Honor.  He  died  in  consequence  of  an  accident  at 
Paris,  January,  1831." 

— Ottley's  Painters  and  Engravers. 


"^^o,  51 — "Josephine,  Empress  of  the  French." 

59  X  86. 

This  portrait  is  signed  "Robert  Lefevre,  1808,"  in  the 
lower  left-hand  corner.  The  Empress  is  shown  seated  in 
her  coronation  robes  in  the  low^  red  throne  chair  in  the 
throne-room  at  Fontainebleau.  Her  dress,  made  in  the 
high-waisted  style  of  the  period,  sleeveless  and  decollette, 
is  of  w^hite  brocaded  satin,  embroidered  with  gold.  She 
wears  a  tiara  of  pearls  and  emeralds,  a  necklace  of  the 
same  costly  jewels  encircling  her  shoulders.  Over  one 
shoulder,  and  down  over  the  arm  of  the  throne  chair, 
sweeps  the  ermine  lined  folds  of  her  velvet  robe  with  its 
border  of  gold  and  sprinkling  of  golden  bees,  piling  in 
crimson  richness  over  the  steps  that  lead  down  from  the 
dais.  On  a  pedestal  at  her  left^  resting  on  a  green  velvet 
cushion,  is  the  imperial  crown  with  which  she  has  just 
been  crowned.  The  gold  colored  linings  of  the  canopy 
drape  down  behind  the  chair.  Beyond,  on  the  right,  the 
base  of  a  great  fluted  pillar  of  marble  is  seen. 


56 


T.  P>.  WALKER  COLLECTION. 


^No.  52 — "Portrait  of  the  Empress  Maria  Louisa." 

59  X  86. 

''Maria  Louisa,  the  second  wife  of  Napoleon  I,  was 
born  at  Vienna,  December  12th,  179L  She  was  the  eldest 
daughter  of  the  Emperor  Francis  L  of  Austria,  by  his  sec- 
ond wife.  Having  been  taught,  like  all  her  relatives,  to 
execrate  the  name  of  Napoleon,  she  was  at  first  appalled 
at  the  idea  of  marrying  him,  but  resigning  herself  to  her 
fate  she  left  Vienna  on  March  13th,  1810.  She  met  Napo- 
leon near  Soissons,  March  28th.  The  civil  marriage  took 
place  at  St.  Cloud,  April  1st,  and  the  religious  ceremony 
was  performed  the  next  day  by  Cardinal  Fisch  at  the 
Louvre.  Most  of  the  Cardinals  declining  to  attend,  as  the 
Pope  had  not  ratified  the  divorce  from  Josephine,  they 
were  banished  from  the  capital  and  forbidden  to  wear  their 
scarlet  gowns,  and  hence  were  called  the  Black  Cardinals. 
Among  the  brilliant  festivities  of  the  marriage  w^as  a  grand 
ball  at  the  Austrian  embassy,  in  the  midst  of  which  the 
building  took  fire,  and  the  Empress  was  borne  from  the 
flames  in  the  arms  of  Napoleon.  She  seemed  at  first  to 
respond  to  her  husband's  warm  affection,  but  could  not 
adapt  herself  to  the  society  of  the  Tuilleries,  and  her 
apathy  and  dififidence  formed  a  striking  contrast  to  her 
predecessor's  vivacity.  Her  husband  became  still  more 
attentive  to  her  after  the  birth  of  a  son,  March,  1811.  But 
she  was  as  undemonstrative  in  her  maternal  as  in  all  her 
other  aflfections.  She  accompanied  Napoleon  to  Dresden 
in  May,  1812,  where  all  the  German  princes  paid  homage  to 
her.  During  the  Emperor's  absence  he  appointed  her  Re- 
gent, with  a  board,  to  the  decision  of  which  she  left  the 
direction  of  public  affairs.  The  Emperor  having  ordered 
her  to  leave  Paris  on  the  entrance  of  the  allies,  she  did 
not  venture  to  disobey  him,  though  urged  by  several  of 
her  relatives  to  remain  at  her  post.  She  placed  herself  with 
her  son  under  the  protection  of  her  father  and  was  easily 


INDEX  AND  RTOGRAPTTTCAT.  NOTES. 


57 


persuaded  to  refrain  from  joining?  her  husband  at  Elba. 
She  never  saw  him  again  and  evinced  no  interest  in  his 
fate.  After  the  death  of  Napoleon,  in  1821,  she  contracted 
a  morganatic  marriage  with  Count  Albert  Adam  von  Neip- 
perg,  an  Austrian  general.  She  was  highly  educated  and 
attractive  in  person,  her  beauty  being  of  the  blonde  Tyrol- 
ese  style;  but  Lamartine  properly  characterizes  her  as  a 
commonplace  and  motherly  woman,  fitted  rather  to  shine 
in  Vprivate  life  than  to  be  associated  with  memorable 
events.    She  died  in  Vienna,  December  18th,  1847." 

— Century  Cyclopedia. 
The  portrait  of  the  Empress  Maria  Louisa,  taken  full 
length,  standing.  One  hand  rests  Hghtly  on  a  small  cor- 
onet that  lies  on  its  blue  cushion  on  the  table  by  her  side. 
The  other  hangs  at  her  side  clasping  a  small  fan.  Her 
white  satin  gown  is  fairly  stiff  wath  pearl  embroideries,  as 
is  the  train  which  lies  piled  in  folds  beside  her.  The  dark 
blue  coronation  chair  from  which  she  has  just  risen  bears 
a  golden  "N"  on  the  cushion  of  its  upholstery.  On  the 
crimson  spread  table  the  queen's  artistic  and  musical  ac- 
complishments are  recorded  in  the  form  of  a  sketch,  a 
crayon  holder  and  a  sheet  of  music.  The  background  is 
the  mahogany  pillars  of  the  room  and  a  pair  of  green 
Egyptian  marble  pillars  that  flank  it.  The  picture  is  signed 
in  the  lower  left-hand  corner. 


LEVERIDGE  (Clinton)   ...America 

A  young  American  artist,  whose  work  is  fast 
gaining  prominence. 


*No.  53— "Cattle  Grazing  in  Pasture/' 

36  X  22. 

In  a  level,  verdant  pasture,  on  the  right  of  which  a 

stream  flows,  some  cows  are  grazing.  The  animals  are 


58  T.  B.  WALKER  COLLECTION. 


well  in  the  foreground,  and  beautiful  animals  they  are,  so 
natural  and  lifelike.  The  drawing  and  coloring  are  excel- 
lent. In  the  center  of  the  picture,  but  somewhat  back, 
some  fine  elms  stand.  A  road  on  the  left  leads  up  to  a 
gate  in  the  rail  fence,  which  encloses  the  pasture.  The 
perspective  is  good,  the  sky  clear,  the  atmospheric  effect 
well  produced;  but  all  this  must  remain  subservient  to  the 
excellent  coloring  and  fine  arrangement  of  the  cattle. 


LEROLLE  (Henri)   France 

Born  at  Paris. 

Pupil  of  Lamothe. 

Medals,  1879;  first  class,  1880. 
Hors  Concours. 

His  picture  of  1880  is  in  the  Luxembourg  Museum,  and 
that  of  1885  in  the  Metropolitan  Museum  of  New  York. 

A  real  impressionist,  like  Breton,  Millet,  and  Cazin. 


*No.  54— ^*By  the  Harvest  Fields/' 

18^  x  22. 

In  a  sky,  soft  with  the  early  morning  shades  of  pink 
and  pearl,  a  few  clouds  float.  Across  the  yellow  fields 
the  breath  of  the  morning  comes  fresh  and  cool,  laden 
with  the  scent  of  opening  flowers  wet  with  dew.  In  the 
foreground  a  rustic  female  figure,  whose  draperies  fall 
into  outlines  classic  in  their  purity,  stands  beside  a  single 
gray  sheep  that  feeds  by  the  way. 


INDEX  AND  BIOGRAPHTCAT.  NOTES.  59 


LE  BRUN  (Charles)   Paris 

Born  at  Paris  in  1619.    Died  in  1690. 
Studied  under  Simon  Vouet  in  Paris,  and  Nicholas  Poussin 
in  Rome. 

Was  made  Premier  Court  Painter  in  1648. 
In  1662  he  was  ennobled,  appointed  Director  of  all  the 
^   public  works,  and  Director  General  of  the 
^     manufacture  of  tapestry  at  the  Gobelins. 
He  was  also  appointed  Director  General  of  the 
Academy  of  Painters. 

"He  was  justly  called  the  Louis  XIV  of  Art,  and  at  the 
zenith  of  his  fame  well  might  have  said,  in  the  sentiment 
of  his  royal  master,  ^le  peinture,  c'  est  mot.'  He  developed 
early  the  vigour  and  industry  which  characterized  him 
through  life,  and  while  a  mere  boy  obtained  the  patronage 
of  such  men  as  Richelieu  and  the  Chancellor  Seguier.  So 
well  did  Le  Brun  follow  the  teachings  of  the  great  master 
that  he  painted,  at  this  time,  some  pictures  that  were  at- 
tributed to  Poussin,  such  as  the  'Mucins  Scsevola,'  now  in 
the  Louvre.  A  few  of  his  later  works  also  recall  the  same 
influence.  But  after  his  return  to  Paris,  in  1646,  whither 
his  great  reputation  had  preceded  him,  his  natural  talent, 
favoured,  perhaps,  by  circumstances,  soon  led  Le  Brun  in 
a  different  direction.  His  success  was  great  and  uninter- 
rupted and  it  was  equaled  by  his  industry. 

"But  to  1660,  the  year  in  which  he  was  made  Director  of 
the  Gobelins,  by  Colbert,  belong  the  first  important  v/orks 
which  he  executed  for  the  king.  These  were  the  celebrated 
series  of  pictures  on  the  life  of  Alexander,  now  in  the  Lou- 
vre, comprising  the  'Entry  into  Babylon,'  the  'Tent  of  Da- 
rius,' the  'Passage  of  the  Granicus,'  and  the  'Battle  of  Ar- 
bela.'  They  are  completely  typical  both  of  the  artist  and 
his  time.  They  are  splendid  decorative  pictures,  in  which 
great  subjects  are  represented  with  an  inexhaustible  fertil- 


60  T.  B.  WALKER  COLLECTION. 


ity  of  invention,  nobility  of  conception  and  a  power  of 
vividly  expressing  outward  action.  Their  technical  excel- 
lence is  also  great,  and  the  costumes  are  carefully  studied. 
These  pictures  are  the  work  of  several  years,  but  on  the 
completion  of  the  'Darius/  Le  Brun  was  made  first  painter 
to  the  king,  and  thenceforth  became  supreme  in  the  world 
of  art." 

— Spanish  and  French  Painters,  by  Gerard  W.  Smith. 

"The  whole  arrangement  of  the  Royal  Palaces  was  en- 
trusted to  his  care,  and  to  his  intuition  was  due  in  great 
measure  the  foundation  of  the  Academy  of  Painting  by 
Louis  XIV  in  1648,  and  the  establishment  of  the  French 
school  in  Rome. 

'Tn  the  Louvre  there  are  twenty-two  of  his  pictures,  at 
the  head  of  which  stands  the  'History  of  Alexander.'  This 
famous  series,  which  was  ordered  by  Louis  XIV  in  1660 
and  which  was  completed  in  1668,  is  no  less  important 
among  his  works  than  the  'History  of  S.  Bruno,'  among 
those  of  Le  Sueur.  It  comprises  the  'Passage  of  the 
Granicus,'  the  'Battle  of  Arbela,'  the  'Family  of  Darius 
made  Captive,'  the  'Defeat  of  Porus,'  and  the  'Triumph  of 
Alexander  at  Babylon,'  an  evident  allegorical  flattery  of 
the  early  triumphs  of  the  great  Louis.  The  painter  had 
the  good  fortune  to  have  it  engraved  by  Edelinck  and  Au- 
dran.  The  other  great  painting  of  Le  Brun  are  the  'Day 
of  Pentecost,'  where  he  has  introduced  himself  in  the 
figure  of  the  disciple  standing  on  the  left;  the  'Christ  with 
Angels,'  painted  to  immortalize  a  dream  of  the  queen- 
mother;  and  the  'Repentant  Magdalen,'  which  is  called  by 
some  'Mademoiselle  de  la  Valliere.'" 

— History  of  Art,  by  N.  D'Anvers. 

"Recalled  to  Paris  in  1648,  he  was  received  into  the 
Academy,  protected  by  Fouquet,  presented  to  Louis  XIV 
by  Cardinal  Mazarin,  and  made  court  painter.  In  1662  the 
king  ennobled  him,  gave  him  the  general  care  of  all  works 
of  art  in  royal  buildings,  and  made  him  director  of  the 


INDEX  AND  BIOGRAPHICAL  NOTES.  61 


Gobelins,  and  successively  rector,  chancellor  and  director 
of  the  Academy  of  Painting.  In  1666  Le  Britn  induced  the 
king  to  found  the  French  Academy  at  Rome,  where,  though 
absent,  he  was  made  prince  of  the  Academy  of  St.  Luke." 

— Cyclopedia  of  Painters  and  Paintings. 

"Le  Brun  excelled  in  composition,  and  there  is  often 
great  ingenuity  and  poetry  in  his  works.  His  works  were 
very  numerous  in  the  palaces  of  France,  and  easel  pictures 
by  hini  are  to  be  found  in  all  the  galleries  of  Europe." 

— Painters  and  Their  Works,  by  R.  N.  James. 

''Le  Brun  belongs  to  the  classical  and  artificial  school, 
of  which  he  is  a  favorable  example.  His  best  works  are 
a  series  of  pictures  representing  the  battles  of  Alexander, 
now  in  the  Louvre.  In  composition  and  in  execution  they 
have  much  merit." 

— Famous  Painters  and  Paintings,  by  Mrs.  J.  A.  Shedd. 

There  are  twenty-two  important  paintings  by  Le  Brun 
in  the  Louvre,  also  examples  in  the  Versailles  Museum; 
Rennes  Gallery;  Bordeaux  Museum;  Lyons  Gallery;  Caen 
Gallery;  Nantes  Gallery;  Geneva  Gallery;  Old  Pinakothek 
Gallery,  Munich,  Stuttgart,  Gallery,  Liechtenstein 
Venice  Academy;  Dulwich  Gallery;  Royal  Academy  of 
England;  Earl  of  Darnley  Gallery;  Earl  of  Yarborough 
Gallery;  National  Gallery,  Pesth;  Lord  Nelthorp  Gallery; 
and  in  the  great  staircase  and  ceiling  of  the  gallery  at  Ver- 
sailles; also  in  the  gallery  at  St.  Germain,  and  in  the  Castle 
and  Pavilion  of  Sceaux. 


*No.  55 — "Marius  on  the  Ruins  of  Carthage." 

451/^x36. 

The  picture  represents  Caius  Marius,  of  whom  the  his- 
torian says,  ''No  Roman  ever  rendered  greater  service  to 
the  state,  and  no  Roman  ever  rose  so  high  to  fall  so  low, 
with  the  single  exception  of  Pompey."    He  was  seven 


62 


T.  B.  WALKER  COLLECTION. 


times  Roman  Consul.  Having  been  finally  defeated  by 
Sulla,  Marius  was  compelled  to  fly,  and  while  concealed  in 
the  marsh,  was  found  by  his  pursuers  and  imprisoned  at 
Minturn^E.  A  Cimbric  soldier  was  ordered  to  dispatch 
him,  but  was  so  afYected  by  his  appearance  and  language 
that  he  lost  his  courage  and  could  not  kill  him.  The  peo- 
ple of  the  town  rose  in  his  favor  and  furnished  him  a  ves- 
sel in  which  he  sailed  to  Africa,  meeting  with  many  dan- 
gers on  the  way.  He  landed  at  Carthage,  where  a  mes- 
sage was  sent  him  by  the  Roman  praetor,  ordering  him  to 
leave  the  country.  His  answer^  as  represented  in  the  pic- 
ture, was,  ''Tell  the  prretor  that  you  have  seen  Caius 
Marius  a  fugitive  sitting  on  the  ruins  of  Carthage;"  a  re- 
ply which  was  recorded  by  Plutarch  as  aptly  comparing 
the  fate  of  that  city  with  his  own  changed  fortunes. 

This  is  perhaps  the  only  example  of  his  paintings  in 
this  country.  It  is  a  very  effective,  finely  drawn  and  attrac- 
tive historical  painting. 

From  the  Hunter  Sale  in  New  York,  1853. 

LINGELBACH  (Johannes). 

Born  at  Frankfort  on  the  Main,  1625. 

Died  at  Amsterdam,  1687. 

''Johannes  was  the  son  of  David  Lingelbach,  who  was 
in  1639  the  proprietor  of  a  place  of  recreation  at  Amster- 
dam called  the  "Old  Maze,"  and  of  the  "New  Maze"  from 
1646.  His  mother's  name  was  Agniet  Jans,  and  Johannes 
was  born  in  Frankfurth-am-Main.  The  family,  however, 
was  in  Holland  when  Johannes  was  a  child,  and  in  1642  he 
went  to  France,  where  he  remained  two  years,  and  then 
visited  Rome,  in  which  city  he  resided  for  eight  years.  He 
then  returned  to  Amsterdam  by  way  of  Germany  and  in 
1653  bought  the  right  of  citizenship  in  that  city.  Lingel- 
bach excelled  in  representing  seaports  or  market  places, 


INDEX  AND  BIOGRAPHICAL  NOTES. 


63 


into  which  he  was  fond  of  introdncing  elegant  buildings, 
obelisks,  etc.  His  coloring  was,  in  his  best  pictures,  sil- 
very and  his  drawing  correct." 

— Painters  and  Their  Works. 

"It  is  not  mentioned  by  whom  he  was  instructed,  but  the 
ability  of  the  master  may  be  presumed  from  the  talents  of 
the  pupil.  He  went  to  Amsterdam  in  1637,  and  after 
spending  five  years  there,  he  returned  home  and  remained 
two  years,  and  then  in  1644  visited  Italy.  He  passed  six 
years  at  Rome  sketching  the  most  remarkable  objects  in 
and  near  the  capitol.  In  1652  he  returned  to  Amsterdam 
with  the  studies  he  had  accumulated  during  his  residence 
in  Italy,  of  which  he  made  an  ample  use  in  the  composi- 
tion of  his  pictures.  His  pictures  are  embellished  with 
architecture  and  the  ruins  of  ancient  monuments  and  stat- 
ues. His  ability  in  painting  small  figures  and  animals  in- 
duced several  of  the  landscape  painters  of  his  time  to  have 
recourse  to  him  to  decorate  their  pictures,  particularly 
Wynants  and  Wouwerman,  by  whom  his  style  of  painting 
was  largely  influenced." 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

"His  style  was  influenced  by  Wynants,  to  whose  pictures 
he  often  supplied  figures  and  animals,  and  G.  Wouwerman, 
whom  he  successfully  imitated.  The  cool,  delicate,  silvery 
tone  of  his  pictures  sometimes  degenerates  into  coldness. 
His  composition  is  skillful,  the  drawing  good,  the  execu- 
tion careful."        — Cyclopedia  of  Painters  and  Paintings. 

No.  56— ''Scene  in  the  Foothills/' 

351/^x46. 

Although  Lingelbach  excelled  in  painting  small  figures 
and  elegant  buildings,  yet  in  this  interesting  picture  he 
clearly  demonstrates  his  ability  as  a  landscape  painter  and 
colorist. 

In  the  foreground  a  peasant  woman  is  seen  carrying  a 


64 


T.  B.  WALKER  COLLECTION. 


fowl,  and  accompanied  by  her  son  and  faithful  dog.  At 
a  turn  in  the  shaded  roadway  a  poor  beggar  sits  asking 
alms  from  passers-by,  while  a  lone  horseman  approaches 
from  the  direction  of  the  crystal  lake  lying  at  the  foot  of 
the  mountains,  reflecting  like  a  mirror  the  outlines  of  the 
old  castles  which  adorn  its  shores.  Far  away  the  moun- 
tain rises  abruptly,  its  precipitous  summit  obscured  by 
billowy  clouds  which  overspread  the  azure  sky.  The  sil- 
very freshness  of  his  atmosphere,  the  pleasing  invention, 
and  the  delicate  coloring  complete  a  very  agreeable  paint- 
ing. 

LORRAINE  (Claude).    (Claude  Gellee.) 

Born  at  Chamagne,  in  Lorraine,  in  1600. 
Died  in  Rome  in  1682. 

French  School;  landscape  painter;  real  name  was  Gellee. 
Studied  under  Agostino  Tassi  and  Godfrey  Waal. 

''From  morning  until  night  he  was  seen  in  the  fields  con- 
templating, with  an  attentive  eye,  the  effects  produced  by 
the  sun  at  the  different  hours  of  the  day,  and  the  vapory 
veil  which  air  and  distance  throw  over  the  various  objects 
as  they  recede  from  the  sight. 

"His  landscapes  do  not,  like  those  of  the  Dutch  painters, 
exhibit  cold  portraiture  of  a  prescribed  portion  of  a  coun- 
try; he  soars  above  the  servile  representation  of  ordinary 
nature,  and  transports  his  sp^ectators  into  the  regions  of 
poetry  and  enchantment.  In  this  point  of  view  Claude  will 
ever  be  regarded  as  the  first  of  landscape  painters;  and  it 
will  not  be  disputed  that  his  compositions  are  the  richest 
and  most  studied  of  all  those  who  have  excelled  in  that 
branch  of  art. 

''He  presented  to  the  beholder  such  an  infinity  of  objects, 
and  conveys  him  over  such  a  variety  of  hill  and  dale  and 
misty  mountains,  that  the  eye  may  be  said  to  be  con- 


INDEX  AND  BIOGRAPHICAL  NOTES.  65 


strained,  as  it  wanders,  to  repose  itself  on  the  way.  The 
superb  temples,  the  lofty  architecture,  with  which  he  em- 
bellished his  compositions;  his  ample  lakes,  peopled  witli 
aquatic  birds;  the  glittering  luster  of  his  skies;  the  diver- 
sity of  his  foliage;  strictly  suited  to  each  plant  or  tree; 
every  object  is  stamped  with  the  genuine  feature  of  select- 
ed nature.  In  his  pictures  of  morning,  the  rising  sun  dis- 
sipates the  dews,  and  the  fields  and  verdure  brighten  at 
the  ^approach  of  day;  his  evening  skies  expand  a  glowing 
splendor  over  the  horizon;  vegetation,  oppressed  by  a  sul- 
try aridity,  sinks  under  the  burning  heat  of  the  sun. 

''His  marines  and  magnificent  seaports  contend  for  the 
superiority  with  his  inimitable  landscapes,  in  the  purity 
and  freshness  of  the  air,  and  the  gently  undulating  swell 
of  the  water  sparkling  with  the  lucid  reflection  of  a  clear 
and  brilliant  sunshine. 

"The  pictures  of  Claude  bear  visible  evidence  that  they 
are  the  result  of  much  thought,  deliberation  and  cultivated 
taste.  In  their  execution,  both  patience  and  elaborate  care 
are  equally  manifest.  His  best  works  are  painted  through- 
out with  a  full  body  of  color,  and  a  liberal  use  of  ultra- 
marine. He  appears  to  have  commenced  his  operations 
entirely  in  grey,  in  which  that  valuable  color  is  freely 
used;  so  that  when  the  super  colors  in  the  completion  of 
the  work  are  applied,  the  silvery  hues  beneath  contribute 
greatly  to  the  atmospheric  effect,  which  constitutes  one  of 
the  chief  charms  in  his  pictures.  It  is  also  worthy  of  no- 
tice that  the  same  careful  attention  to  details  is  as  ob- 
servable in  the  half  tones,  shadows,  and  distances  as  in  the 
more  prominent  and  luminous  parts.  Above  all,  the  high 
quality  of  his  genius  is  best  discovered  in  the  selecting  of 
objects  of  the  most  pleasing  forms,  tastefully  grouping 
them  together,  so  as  to  produce,  by  the  various  combina- 
tions, a  scene  replete  with  the  most  enchanting  beauties." 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

"He  searched  for  true  principles  by  the  incessant  exam- 


66 


T.  B.  WALKER  COLLECTION. 


ination  of  nature,  usually  studying  in  the  open  fields,  where 
he  frequently  continued  from  sunrise  till  the  dusk  of  the 
evening,  sketching  whatever  he  thought  beautiful  and  strik- 
ing. 

"Every  curious  tinge  of  light  on  all  kinds  of  objects  he 
marked  in  his  sketches  with  a  similar  color,  by  which 
means  he  gave  his  landscapes  such  an  appearance  of  na- 
ture as  has  rarely  been  equaled  by  any  artist. 

''His  skies  are  warm  and  full  of  luster,  and  every  object 
is  properly  illumined.  His  distances  are  admirable,  and  in 
every  part  a  delightful  uniformity  and  harmony  never  fail 
to  excite  admiration.  His  invention  is  pleasing,  his  color- 
ing delicate,  his  tints  have  such  an  agreeable  sweetness  and 
variety  as  to  have  been  imperfectly  imitated  by  the  best 
subsequent  artists  and  were  never  equaled. 

"His  pictures  are  scarce,  especially  such  as  are  undam- 
aged, and  they  are  so  valued  that  no  price  is  thought  to 
be  superior  to  their  merits.  There  are  some  of  uncommon 
excellence  in  this  country." 

— Pilkington's  Dictionary  of  Painters. 

"His  works  are  combinations  of  beautiful  objects  bor- 
rowed from  the  inexhaustible  source  of  nature,  enriched 
by  art,  exhibited  under  the  most  lovely  forms  and  alluring 
media.  Sir  Joshua  Reynolds  says  in  his  Discourses,  that 
Claude  Lorraine  'was  convinced  that  taking  nature  as  he 
found  it  seldom  produced  beauty.'  If  the  scene  represents 
the  early  morning,  the  hemisphere  is  suffused  with  light 
and  warmth,  and  all  nature  visibly  feels  their  influence; 
the  mists  are  seen  dispersing,  and  the  cool  freshness  of 
the  dawn  of  day  is  yielding  to  the  absorbing  rays  of  the 
sun;  the  soft  zephrys  appear  to  agitate  in  gentle  ripples 
the  surface  of  the  lucid  streams  and  to  breathe  in  whispers 
among  the  foliage  of  the  surrounding  groves.  The  shep- 
herd is  seen  leading  his  flocks  to  the  pastures,  or  Diana 
with  her  attending  nymphs  is  sallying  forth  to  the  chase. 
Every  period  of  the  day,  with  all  its  elemental  vicissitudes. 


INDEX  AND  BIOGRAPHICAL  NOTES.  67 


has  been  successfully  embodied  by  his  magic  pencil,  and 
even  the  gorgeous  splendor  of  a  summer  evening,  with  all 
its  dazzling  brightness,  was  not  beyond  the  reach  of  his 
master  hand.  His  pictures  are  enriched  with  palaces,  tem- 
ples, and  other  noble  edifices;  and  the  ruins  of  ancient 
mighty  structures  are  so  appropriately  introduced  and  com- 
posed with  so  much  skill  and  taste^  that  it  is  easy  to  imag- 
ine, that  they  once  had  existence  at  some  glorious  era  of 
the  Greek  OJT  Roman  states. 

''This  illustration  is  still  further  heightened  by  the  intro- 
duction of  some  event  from  sacred  or  profane  history, 
poetry,  or  romance,  which  accords  with  the  style  of  the 
buildings  and  the  scenes  depicted.  The  landscapes  of  other 
great  artists,  as  Gaspar  Poussin  and  Salvator  Rosa,  engage 
little  of  our  time  and  contemplation  to  run  over  the  scanty 
confines  of  their  scenery,  compared  with  the  august  and 
boundless  expanse  of  Claude.  He  presents  the  beholder 
such  an  infinity  of  objects,  and  conveys  him  over  such  a 
Variety  of  hill  and  dale  and  misty  mountains'  that  the  eye 
seems  to  be  constrained,  as  it  wanders,  to  repose  on  the 
way.  His  marines  and  magnificent  sea  ports  contend  for 
superiority  with  his  inimitable  landscapes,  in  the  purity 
and  freshness  of  the  atmosphere,  and  the  gentle,  undulat- 
ing swell  of  the  water,  sparkling  with  the  reflection  of  a 
clear  and  brilliant  sunshine." 

— Spo oner's  History  of  the  Fine  Arts. 

No.  57— "Classic  Harbor  Scene." 

521/^x41. 

It  is  difficult  to  describe  a  "Lorraine,"  as  nothing  short 
of  seeing  and  studying  his  harmony  of  colors  and  detail 
can  convey  to  the  mind  anything  like  an  idea  of  their  nat- 
ural beauty  and  artistic  value.  To  the  right  is  a  castle  or 
palace  built  partially  into  the  bay.    The  morning  sun  casts 


68  T.  B.  WALKER  COLLECTION. 


his  golden  glory  over  sea  and  sky,  bringing  to  view  in  the 
shadows  of  the  stately  trees  two  women  in  earnest  conver- 
sation. The  emerald  waters  lazily  ripple  on  the  shore, 
fanned  by  a  gentle  breeze  of  the  early  morning.  The  head- 
lands are  seen  in  the  distance  and  some  boats  lie  almost 
hidden  in  the  shadows  of  the  castle  wall.  As  in  all  of  Gal- 
lee's  work,  one  cannot  but  note  the  naturalness  of  detail 
and  the  harmony  of  color. 

Mr.  Pratt,  art  critic,  Alaska-Yukon-Pacific  Exposition, 
Seattle,  1909,  says:  '^There  is  a  beautiful  "Classic  Harbor 
Scene,"  by  Lorraine,  who  rivaled  Turner  in  painting  the 
luminosity  of  the  air.    His  landscapes  are  poetical." 

MICHEL  (Georges)   France 

Born,  1763;  died,  1843. 
Neglected  during  his  life,  his  paintings  are  now  sought 
for  by  connoisseurs.    He  is  represented  in  the  Louvre  and 
other  public  galleries. 

*No.  58— "The  Old  Castle." 

27x201/4. 

Few  pictures  have  such  an  effect  of  power  and  motion 
in  the  sky  as  this.  The  yellow  clouds  seem  driven  along 
by  a  very  storm  in  the  heavens.  The  blending  of  sky  and 
sea,  in  a  far  perspective,  is  perfect.  It  carries  the  eye  ovei 
the  water  of  the  bay  till  the  curving  ocean  melts  into  the 
sky. 

MILLONE  (A.). 

*No.  59— "Rounding  up  the  Herd." 

36  X  24. 

A  drove  of  cattle  on  a  prairie  in  charge  of  a  drover  and 
his  daughter.  Behind  the  herd  the  daughter  is  seen  seated 
in  a  side-saddle  on  a  mule.  The  herd  are  well  in  the  fore- 
ground. 


INDEX  AND  BTOGRAPHTCAT.  NOTES.  69 


MINOR  (Robert  C.)   New  York 

Born  in  New  York,  1840. 
Studied  in  Paris  under  Diaz  and  in  Antwerp  under 
Van  Tuppen,  Boulanger  and  others. 
Member  of  the  Society  of  American  Artists. 

(  ^No.  60— "After  the  Storm/' 

20  X  16. 

The  storm  has  spent  itself  and  the  clouds  have  rolled 
away.  The  setting  sun  gives  the  scene  his  last  beams  and 
is  attesting  his  sovereignty  by  turning  even  the  angry 
storm-clouds  into  royal  purple  to  deck  his  throne.  The 
whole  scene  shines  and  glistens  in  the  newly-fallen  rain 
and  the  evening  sunshine. 

MORAN  (Thomas),  N.  A  New  York 

Born  at  Bolton,  Lancashire,  England,  1837. 
Brought  to  America,  1844. 
Brother  of  Edward  and  Peter  Moran. 
Returned  to  Europe  1862  and  1866,  and  studied  the 
works  of  Turner  and  the  old  masters. 

Elected  N.  A.,  1884. 
Member  of  Society  of  American  Artists. 

*No.  61— "Summer  Squall." 

24  X  36. 

Over  the  verdant  meadow  flit  alternate  patches  of  sun- 
light and  shadow.  On  the  grove  in  the  center  distance 
rests  a  heavy  shadow,  while  just  beyond  the  sunshine  may 
be  seen.    Overhead  drift  the  broken  clouds  which  make 


70 


T.  R.  WALKER  COLLECTION. 


this  bright  landscape  alternately  smile  and  frown.  In  the 
center  sky  a  very  dark  cloud,  denser  and  more  threatening 
than  the  rest,  indicates,  as  it  scurries  across  the  sky,  that 
a  "Summer  Squall"  is  imminent. 


MONTICELLI  (Adolphe),  Deceased  Paris 

Born  at  Marseilles,  1824. 
Pupil  of  Rossi  and  of  Diaz. 
Large  sums  of  money  have  been  paid  for  fine  specimens 
from  this  artist's  brush.    Both  in  this  country  and  on  the 
continent,  connoisseurs  have  come  to  appreciate  Monticelli 
as  a  great  colorist. 


*No.  62— "The  Bridal  Procession/' 

2AV2  X  19. 

How  richly  fantastic  are  the  colors  of  this  artist.  A 
bridal  procession  is  passing  under  the  arched  entrance  to 
the  church.  The  stone  of  the  edifice^  the  liveries  of  the 
attendants — all  but  the  dresses  of  the  bride  and  her  maid, 
are  dark.  The  bridegroom  can  scarcely  be  discerned  in 
the  shadows  by  the  archway. 

MURILLO  (Bartholome  Esteban). 

Born  in  Seville,  January  1,  1618. 
Died  there,  April  3,  1682. 
Spanish  School.    Studied  under  Juan  del  Castillo. 
"The  fertility  of  his  talent,  only  paralleled  by  that  of 
Lope  de  Vega  in  literature,  enabled  him  to  cover  the  walls 
of  private  and  public  buildings  at  Seville  with  the  pictures 
now  scattered  all  over  Europe  at  prices  which,  to  the 
artist,  would  have  seemed  fabulous.^' 

— Cyclopedia  of  Painters  and  Paintings. 


INDEX  AND  BIOGRAPHICAL  NOTES.  71 


''Few  painters  have  a  juster  claim  to  originality  of  style 
than  Murillo,  and  his  works  show  an  incontestable  proof  of 
the  perfection  to  which  the  Spanish  School  attained  and 
the  real  character  of  its  artists — for  he  was  never  out  of 
his  native  country,  and  could  have  borrowed  little  from 
foreign  artists;  and  this  originality  placed  him  in  the  first 
rank  among  the  painters  of  every  school.  All  his  works 
are  distinguished  by  a  close  and  lively  imitation  of  nature. 
His  pictures  of  the  Virgin,  Saints,  Magdalenes,  and  even 
of  the  Savior,  are  stamped  with  a  characteristic  expression 
of  the  eye,  and  have  a  natural  peculiarity  of  countenance 
and  habiliments  which  are  very  remarkable.  There  is  little 
of  the  academy  discernable  in  his  design  or  his  composi- 
tion. It  is  a  chaste  and  faithful  representation  of  what  he 
saw  or  conceived;  truth  and  simplicity  are  never  lost  sight 
of;  his  coloring  is  clear,  tender  and  harmonious,  and 
though  it  possesses  the  truth  of  Titian  and  the  sweetness 
of  VanDyck,  it  has  nothing  of  the  appearance  of  imitation. 
His  works  now  command  enormous  prices." 

— Spo oner's  History  of  the  Fine  Arts. 

"With  the  work  of  this  admirable  artist,  the  English  col- 
lector is  more  intimately  acquainted  than  with  those  of 
any  painter  of  the  Spanish  School;  and  their  intrinsic  merit 
amply  justifies  the  admiration  which  is  bestowed  on  them." 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

No.  63— "The  Coronation." 

39  X  52. 

From  the  Lord  Townsend  Collection. 
The  Virgin  Mary,  robed  in  spotless  white,  with  a  blue 
mantle  thrown  over  her  shoulders,  is  represented  as  rising 
above  the  serpentine  devil  and  his  angels,  while  an  angel 
of  God  places  upon  her  head  a  crown  of  twelve  stars,  and 
cherubs  bring  garlands  of  flowers  and  shout  with  joy.  The 


72 


T.  B.  WALKER  COLLECTION. 


serpent  still  holds  in  his  month  the  apple  with  which  he 
had  tempted  "the  first  man  Adam,"  and  with  which  he 
tempted  the  son  of  this  woman,  **the  second  man  Adam, 
who  became  a  living  spirit"  after  his  forty  days'  fast.  Here, 
however,  his  subtlety  failed  and  one  was  found  "who,  being 
tempted  in  like  manner  as  we,  yet  sinned  not."  The  horn 
in  prophecy  represents  Power,  and  the  great  horn  in  the 
lower  corner  of  the  painting  no  doubt  is  emblematic  of  the 
power  of  Satan  which  Jesus  destroyed.  In  this  wonderful 
painting  Murello  represents  faithfully  what  his  fertile  mind 
conceived,  and  has  given  to  his  figures,  truth  and  simplic- 
ity, and  although  his  coloring  is  modest,  yet  it  is  clear, 
tender  and  harmonious. 


OPIE  (John). 

Born,  176L    Died,  1807. 

"The  works  of  Opie  are  distinguished  by  great  simplicity 
in  the  composition,  masterly  boldness  of  efifect,  and  uncom- 
mon strength  of  character,  though  sometimes  defective 
in  dignity  and  faithful  expression  of  individual  nature. 
His  best  works  possess,  in  an  eminent  degree,  what  artists 
term  breadth.  Few  painters  have  shown  so  perfect  an  eye 
to  the  purity  of  color,  and  in  some  of  his  works  he  appears 
to  have  emulated  the  rich  and  harmonious  tones  of  Rem- 
brandt and  Titian;  and  even  Fuseli  says  that  nature  had 
endowed  him  with  an  exquisite  eye  for  color,  and  pro- 
nounces his  coloring  in  the  'Murder  of  James  V  unrivalled 
among  the  productions  of  his  contemporaries  and  ap- 
proaching the  excellence  of  Titian.  His  conduct  of  the 
chiaro-scuro  was  intelligent  and  masterly." 

— Spooner's  History  of  the  Fine  Arts. 

"The  pictures  he  painted  on  these  occasions  were 
amongst  the  most  admired  productions  of  the  British 
school.  The  works  of  Mr.  Opie  are  distinguished  by  a  sim- 
plicity in  the  composition,  masterly  boldness  of  effect,  un- 


INDEX  AND  BIOGRAPHICAL  NOTES. 


73 


common  strength,  though  not  dignity  of  character,  and 
a  faithful  expression  of  individual  nature.  Few  painters 
have  shov^n  so  perfect  an  eye  to  the  purity  of  color;  and 
in  some  of  his  works  he  appears  to  have  emulated  the 
harmonious  toning  of  Rembrandt  and  Titian.  His  conduct 
of  the  chiaro-scuro  is  masterly  and  intelligent.  He  demon- 
strated by  his  works  how  highly  he  was  endowed  by  na- 
ture with  a  strength  of  judgment  and  originality  of  con- 
cepl^ion.  His  thoughts  were  always  new  and  striking,  as 
they  were  the  genuine  offspring  of  his  own  mind;  and  it 
is  difficult  to  say  if  his  conversation  gave  more  amusement 
or  instruction.  The  toils  and  difficulties  of  his  profession 
were  by  him  considered  as  matter  of  honorable  and  de- 
lightful contest;  and  it  might  be  said  of  him,  that  he  did 
not  so  much  paint  to  live  as  live  to  paint." 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

"His  best  work  was  in  portraiture.  He  became  an  A.  R. 
A.  in  1787  and  R.  A.  in  1788;  in  1805  he  was  chosen  pro- 
fessor of  painting  in  the  Royal  Academy." 

— Cyclopedia  of  Painters  and  Paintings. 

"Untaught,  he  gained  proficiency  in  portrait  painting. 
Not  being  circumscribed  in  talent,  he  gained  great  success 
in  various  branches;  and  Boydell's  Shakespeare,  Macklin's 
Poets,  and  Bowyer's  edition  of  Hume  soon  afforded  ample 
scope  for  Opie's  abilities,  who  produced  upon  these  oc- 
casions some  of  the  best  specimens  of  the  English  school. 
His  best  pictures  possess  great  expansions,  his  coloring 
is  chaste  and  his  chiaro-scuro  perspicuous." 

— Pilkington's  Dictionary  of  Painters. 

"  'The  Cornish  Wonder'  grew  rich  and  fashionable, 
studied  diligently,  became  professor  at  the  Academy,  won- 
derfully improved  his  portraits  and  extended  his  ambition 
to  high  art,  where  his  best  effort  is  'The  Assassination  of 
Rizzio.'    To  him  belongs  that  often-quoted  anecdote  of 


74 


T.  R.  WAT.KER  COLLRCTTON. 


the  painter  who,  when  asked  with  what  he  mixed  his  col- 
ors, replied,  ''With  brains,  sir.'  " 

— Radcliife's  Schools  and  Masters  of  Painting. 

"As  an  artist,  his  works  prove  his  great  genius  and  origi- 
nal powers.  Later  his  compositions  were  more  simple,  his 
light  and  shade  better  understood,  and  his  works  have  a 
vigorous  and  manly  strength  which  contrasts  wnth  the 
feeble  inanities  of  many  of  his  contemporaries." 

— Redgrave's  Dictionary  of  Artists  of  the  English  School. 


No.  64— "Jeune  Fille  (A  Young  Girl)." 

The  young  lady  is  seated  near  a  great  marble  pillar  sup- 
porting the  roof  of  a  high  portico  or  porch.  She  is  turned 
three-quarters  to  the  left.  Her  dress  of  some  soft  material 
is  creamy  white,  cut  decollete,  thus  displaying  the  shapely 
shoulders  and  neck.  The  silken  scarf  has  slipped  from  the 
shoulders  and  lies  in  delicate  folds  across  her  lap,  part- 
ly covering  the  plump  bare  arms.  The  well  poised 
head  is  crowned  with  a  profusion  of  auburn  hair  braided, 
and  looped  back  into  a  bewitching  fold  on  top;  while  stray 
ringlets  hang  down  over  the  forehead.  The  brown  eyes, 
the  dignified  bearing,  the  modest  intellectual  face  are  all 
done  in  this  artist's  usual  strength  and  originality,  making, 
on  the  whole,  a  very  pleasing  and  interesting  portrait. 


PLASSAN  (Antoine  Emile)   Franc* 

Born  at  Bordeaux. 
Medals,  1852,  1857  and  1859. 
Chevalier  of  the  Legion  of  Honor,  1859. 


INDEX  AND  BTOGRAPTTTCAT.  NOTES.  75 


No.  65— "Baby's  Return." 

271/2  X  19/2. 

It  was  the  custom  of  long  ago  for  the  Grand  Dames  tc 
entrust  the  rearing  of  their  children  to  one  of  their  retain- 
ers. Here,  through  babyhood,  the  child  knew  only  the 
care  of  its  foster  mother.  Upon  reaching  its  third  or 
fourth  year,  baby  was  allowed  to  return  to  its  mother.  It 
is  this  return  that  forms  the  subject  of  the  picture.  The 
littld  blue-gowned  baby  is  standing  at  its  foster  mother's 
knee,  looking  wonderingly  at  the  grand  lady,  richly  at- 
tired, who  is  holding  out  her  arms  to  her  little  one.  The 
crimson  costume  of  "My  Lord,"  the  rich  dress  of  ''My 
Lady,''  together  with  the  children  and  their  attendants, 
form  a  strong  contrast  to  the  dark  carvings  of  the  interior. 
The  colors  are  rich  and  dark,  and  the  whole  picture  soft 
and  beautiful. 


PHILIPPOTEAU  (Paul)   France 

This  artist  studied  in  France,  where  he  became  so  well 
known  as  a  landscape  and  battle  painter,  that  he  was  en- 
gaged by  Americans  to  paint  panoramic  scenes  on  the 
Southern  battle  fields. 

He  has  been  employed  for  several  years  by  the  Khedive 
of  Egypt  painting  Egyptian  scenes  for  the  royal  household 
at  a  salary  of  $75,000  per  year. 

>KNo.  66— "Battle  of  Five  Forks." 

67  X  42. 

"On  April  1st,  1865,  Sheridan  fought  and  won  the  glori- 
ous battle  of  Five  Forks  against  this  detached  rebel  force, 
and,  besides  capturing  six  thousand  prisoners  and  six  pieces 
of  artillery,  dispersed  the  rest  to  the  north  and  west,  away 
from  the  balance  of  Lee's  army.    That  night,  after  Grant 


76  T.  B.  WALKER  COLLECTION. 


received  the  news  of  this  victory,  he  went  into  his  tent, 
wrote  a  dispatch,  sent  it  by  an  orderly,  and,  returning  to 
the  fire  outside  his  tent,  calmly  said:  'I  have  ordered  an 
immediate  assault  along  the  lines.'  This  was  afterwards 
modified  to  an  attack  at  three  points  on  the  Petersburg 
works,  at  four  o'clock  in  the  morning,  a  terrific  bombard- 
ment, however,  to  be  kept  up  all  night.  Grant  also  sent 
more  reinforcements  to  Sheridan.  On  the  morning  of 
April  2d  the  assault  was  made  and  the  enemy's  works  were 
gallantly  carried,  while  Sheridan  was  coming  up  to  the 
west  of  Petersburg." 

— John  A.  Logan's  "Great  Conspiracy''  Page  633. 

^'After  reading  the  instructions  I  had  given  him,  Sher- 
idan walked  out  of  my  tent,  and  I  followed  to  have  some 
conversation  with  him  by  himself — not  in  the  presence  of 
anybody  else,  even  of  a  member  of  my  stafif.  In  prepar- 
ing his  instructions  I  contemplated  just  what  took  place; 
that  is  to  say,  capturing  Five  Forks,  driving  the  enemy 
from  Petersburg  and  Richmond,  and  terminating  the  con- 
test before  separating  from  the  enemy.  But  the  Nation 
had  already  become  restless  and  discouraged  at  the  prolon- 
gation of  the  war,  and  many  believed  that  it  would  never 
terminate,  except  by  compromise. 

"I  told  him  that,  as  a  matter  of  fact,  I  intended  to  close 
the  war  right  here  with  this  movement,  and  that  he  should 
go  no  further.  His  face  at  once  brightened  up,  and,  slap- 
ping his  hand  on  his  leg,  he  said:  *I  am  glad  to  hear  it, 
and  we  can  do  it.' 

"It  was  dusk  when  our  troops,  under  Sheridan,  went 
over  the  parapets  of  the  enemy.  The  two  armies  were 
mingled  together  there  for  a  time  in  such  manner  that  it 
was  almost  a  question  which  one  was  going  to  demand 
the  surrender  of  the  other.  Soon,  however,  the  enemy 
broke  and  ran  in  every  direction,  some  six  thousand  pris- 
oners, besides  artillery  and  small  arms  in  large  quantities, 
falling  into  our  hands.    The  flying  troops  were  pursued  in 


INDEX  AND  BTOGRAPHTCAL  NOTES.  77 


different  directions,  the  cavalry  and  Fifth  corps  under 
Sheridan  pursuing  the  larger  body,  which  moved  north- 
west. 

"I  notified  Mr.  Lincoln  at  City  Point  of  the  success  of 
the  day;  in  fact,  I  had  reported  to  him  during  the  day  and 
evening  as  I  got  news,  because  he  was  so  much  interested 
in  the  movements  taking  place  that  I  wanted  to  relieve 
his  mind  as  much  as  I  could. 

*'Le^  made  frantic  efforts  to  recover  at  least  part  of  the 
lost  ground.  Sheridan,  after  he  had  returned  to  Five 
Forks,  swept  down  to  Petersburg,  coming  in  on  our  left. 
This  gave  us  a  continuous  line  from  the  Appomattox  River 
below  the  city  to  the  same  river  above." 

— Personal  Memoirs  of  U.  S.  Grant. 


POOLE  (Paul  Falconer)   England 

Born  at  Bristol,  1810;  died,  1879. 

Of  his  education,  little  is  known;  said  to  have  been 
entirely  self-taught. 

At  twenty  years  of  age  he  went  to  London,  and  exhibited 
at  the  Royal  Academy  his  first  picture. 
Elected  Royal  Academician,  1862. 

"He  is  accounted  one  of  the  most  original  and  success- 
ful of  English  artists  of  the  present  time." 

— Dr.  Thomas  in  Lip  pine  otfs  Biographical  Dictionary. 

"There  has  always  been  in  Mr.  Poole's  work  some  ac- 
knowledgment of  a  supernatural  influence  in  physical  phe- 
nomena, which  gives  a  more  noble  character  to  his  storm 
painting  than  can  belong  to  any  merely  literal  study  of  the 
elements."  —Ruskin. 

"In  1850  and  1851,  he  produced  'Job's  Messengers,'  and 
the  *Goths  in  Italy,'  two  pictures  of  the  highest  character 
and  importance."  —Dr.  Thomas. 


78 


T.  B.  WALKER  COLLECTION. 


*No.  66 — "Jot)'s  Messengers/' 
85x56^. 

"The  subject  of  this  picture  is  the  messenger  announc- 
ing to  Job  the  irruption  of  the  Sabeans,  and  the  slaughter 
of  his  servants,  as  we  find  the  incident  narrated  in  the 
Scriptures: 

"  *And  there  came  a  messenger  unto  Job  and  said:  "The 
oxen  were  ploughing  and  the  asses  feeding  beside  them; 

"And  the  Sabeans  fell  upon  them  and  took  them  away; 
yea,  they  have  slain  the  servants  with  the  edge  of  the 
sword;  and  I  only  am  escaped  alone  to  tell  thee." 

"  'While  he  was  yet  speaking,  there  came  also  another, 
and  said:  ''The  fire  of  God  is  fallen  from  heaven  and  hath 
burned  up  the  sheep,  and  the  servants,  and  consumed 
them;  and  I  only  am  escaped  alone  to  tell  thee." — Job 
1:  14,  15,  16. 

"As  an  expression  of  religious  art^  this  is  a  remarkable 
picture.  Job  sits  on  the  right,  and  opposite  to  him  are  his 
three  consoling  friends;  but  the  principal  figure  in  the  work 
is  the  first  messenger,  a  semi-nude  figure,  his  back  turned 
to  the  light  as  he  addresses  Job.  There  are  other  supple- 
mentary figures,  male  and  female;  one  of  the  latter,  on  the 
extreme  left,  is  squeezing  the  juice  of  grapes  into  a  vase. 
On  her  right  is  another  female  figure  carrying  a  basket  of 
fruit  on  her  head.  A  boy,  in  the  center  of  the  picture,  pours 
out  wine. 

"The  picture  is  exceedingly  rich  in  color,  a  quality  to 
which  the  dark  green  curtain  enclosing  the  pavilion  mate- 
rially contributes."  — Magazine  of  Art. 

RAVENSTEYN  (Jan  Van). 

Born  at  The  Hague,  1572. 
Died  (was  buried)  June  21,  1657. 
"Pupil  of  Michael  Mierevelt,  was  at  Delft  in  October, 
1597;  settled  at  The  Hague  and  joined  the  Guild  of  St. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


79 


Luke.  In  1656  he  and  many  others  left  the  Guild  and  be- 
came the  first  members  of  the  Pictura  Brotherhood." 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

"Dutch  school,  portrait  painter,  master  of  the  ITa^uc 
Guild  in  1615,  painted  assemblies  of  magistrates  and  cor 
porations  with  great  skill  in  the  manner  of  Mierevelt." 

— Cyclopedia  of  Painters  and  Paintings. 

"Hjs  composition  is  good  and  full  of  spirit,  his  attitudes 
are  easy  and  have  an  agreeable  variety,  his  lights  and 
shadows  are  judiciously  distributed;  his  coloring  is  re 
markably  clear  and  his  touch  is  broad  and  firm.  His 
knowledge  in  perspective,  particularly  the  aerial,  was  exclu- 
sive, nor  was  there  any  painter  of  his  time  who  showed 
more  skill  in  the  harmonious  mixture  of  colors." 

— Pilkington's  Dictionary  of  Painters. 

No.  67— "Portrait  of  a  Dutch  Lady." 

20  X  36. 

From  the  collection  of  the  Marquis  of  Hastmgs. 
The  portrait  is  that  of  a  noble  lady  in  middle  life,  at- 
tired in  the  peculiar  costume  of  the  Dutch  capital  at  that 
period.  The  dress  appears  to  be  black  velvet,  trimmed 
with  gold  braid.  The  neck  is  encircled  with  the  large 
ruche  or  collar.  She  wears,  on  her  head,  a  modest  cap  of 
silk  and  fine  lace.  The  coloring  is  clear  and  harmonious, 
the  composition  faultless  and  the  whole  painting  full  of 
life  and  interest. 


RIBALTA  (Juan  de). 

Born  in  Valencia  in  1597. 
Died  there  Oct.  10,  1628. 
Spanish  School;  son  and  pupil  of  Francisco  de  Ribalta. 
"He  painted  so  nearly  in  his  father's  style  that  their 


80  T.  B.  WALKER  COLLECTION. 


works  are  often  confounded.  When  only  eighteen  years 
old,  he  painted  the  admirable  'Crucifixion/  now  in  the 
Valencia  Museum.  Had  he  lived  he  would  probably  have 
taken  rank  among  the  most  famous  of  Spanish  painters." 

— Cyclopedia  of  Painters  and  Paintings. 


No.  68— "Madonna  of  the  Bloodstain." 

45  X  58. 

Mary  is  represented  as  seated  upon  a  throne,  attired  in 
queenly  robes,  with  a  crown  upon  her  head.  The  Christ 
child  stands  erect  upon  her  lap,  holding  in  his  hands  an 
apple,  indicative,  no  doubt,  of  the  temptation  and  fall  of 
man.  Immediately  back  of  the  throne  are  the  everlasting 
hills,  crowned  with  the  bow  of  promise.  The  peculiar 
blood  stain  upon  the  left  cheek  of  the  Madonna  portends 
the  crucifixion  and  the  shedding  of  the  innocent  blood  for 
fallen  man. 


RIBERA  (Josef  De),  (Spagnoletto,  Lo.). 

Born  at  Jativa,  Spain,  January  12,  1588. 

Died  at  Naples  in  1656. 

Valencian  and  Neopolitan  schools. 

Pupil  in  Valencia  of  Francisco  Ribalta.  He  went  when 
quite  young  to  Rome,  lived  while  studying  on  the  charity 
of  his  comrades,  who  nicknamed  him  "Spagnoletto"  (Lit- 
tle Spaniard). 

— Cyclopedia  of  Painters  and  Paintings. 

"Few  painters  have  excelled  Ribera's  portraits  either  in 
force  or  spirit." 

— Stotherfs  French  and  Spanish  Painters. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


81 


No,  69— **Saint  Sebastian/' 

One  of  the  most  realistic  portrayals  and  striking  repre- 
sentations of  the  scene  of  the  shooting  of  this  most  able 
and  humane  martyr  to  the  cause  of  religion.  St.  Sebastian 
was  shot  by  arrows  until  he  was  supposed  to  be  dead,  but 
being  still  found  alive  by  Irene,  the  widow  of  St.  Castulus, 
he  was  nursed  back  to  health,  but  was  afterwards  discov- 
ered by  the  Emperor,  who  had  him  beaten  to  death  with 
cudgels  and  his  body  thrown  in  the  common  gutter.  Luci- 
na,  however,  had  the  body  buried  in  the  catacombs. 

No.  70-^"Saint  Andrew  (Strong  Man)." 

36  X  44. 

From  the  Shandon  Collection,  Norfolk. 

He  was  a  brother  of  Peter,  and  a  native  of  Bethsaida,  in 
Galilee.  He  was  first  a  disciple  of  John  the  Baptist,  but 
followed  Jesus  on  John's  testimony^  and  informed  his 
brother  Peter  of  what  he  had  found,  viz.,  that  Jesus  was 
the  Christ.  He  was  present  at  the  feeding  of  the  five  thou- 
sand at  Jerusalem,  and  on  Olivet  when  they  asker*  lesus 
what  he  meant  by  his  strange  words  about  destroying  and 
rebuilding  the  temple.  Of  his  after  life  and  death  nothing 
is  recorded.  Tradition  says  he  preached  in  Scythia  or 
Achaia,  and  was  crucified  on  a  cross  now  called  *'St.  An- 
drew's cross/'  which  is  of  a  peculiar  shape,  and  still  bears 
his  name. 

The  early  writers  mention  the  ''Gospel  of  St.  Andrew," 
but  they  were  rejected  and  lost.  He  was  a  fisherman,  and 
is  represented  as  holding  a  fish  in  his  right  hand.  The  out- 
lines are  still  perfect,  the  expression  on  the  face  profound, 
and  the  display  of  strength  of  body  most  natural. 


82  T.  B.  WALKER  COLLECTION. 


RICHET  (Leon)   France 

Born  at  Solesmes. 
Pupil  of  Diaz,  whose  style  he  has  adopted. 
Exhibited  in  the  Salons  of  1876,  1877  and  1878. 
Medal,  1888. 

*No.  71— "Near  Fontainebleau." 

29x21. 

The  old  farm  house,  with  its  gray  walls  and  thatched 
roof,  is  in  the  foreground.  On  the  left  stretches  a  mea- 
dow, and  behind,  to  the  right,  a  grove  of  trees.  The  whole 
is  rugged  and  picturesque. 


RITZBERGER  (Albert). 

While  not  in  the  least  an  imitator  of  Vibert,  this  art- 
ist possesses  strong  affinities  with  him.  He  excels  in 
fine  technique,  with  an  eye  for  details,  yet  without  that 
elaborate  trifling  so  destructive  to  the  unity  of  interior 
compositions.  He  has  rather  more  strength  and  depth  of 
color  than  Vibert,  with  less  vigor  of  thought  and  compo- 
sition. 

*No.  72— "In  the  Morning  Room." 

32x44. 

The  strength  of  this  picture  lies  in  the  surpassing 
beauty  of  its  coloring.  Though  not  in  a  particularly  low 
key,  there  is  a  warm  depth  in  the  whole  scheme  of  colors 
employed  that  is  seldom  excelled. 

The  scene  represents  the  window  recess  of  an  English 
mansion.  A  gentleman  sits  at  a  table  reading.  At  his 
right  sits  a  lovely  lady,  and  another,  with  charming  face 


INDEX  AND  BTOGRAPHTCAL  NOTES. 


83 


and  pose,  stands  opposite.  Not  an  especially  striking  situ- 
ation, one  might  say;  but  it  is  not  in  the  situation  that  the 
artist  has  told  his  story,  but  in  the  fine  drawing,  the  s])l('n- 
did  painting  and  the  capital  composition.  The  light  falls 
through  the  window  upon  the  book  and  table  with  wonder- 
ful realism,  throwing  the  reader's  face  into  the  shadow, 
and  giving  a  rare  effect  to  this  portion  of  the  picture.  The 
lady  sitting  at  the  table  is  in  full  light,  and  the  effect  upon 
h^r  handsome  form  and  rich  dress  is  pleasing  in  the  ex- 
treme. 


ROMNEY  (George). 

Born  at  Dalton-Ie-Furness,  Lancashire,  England, 
Dec.  15,  1734. 
Died  at  Kendal,  November  15,  1802. 
Studied  under  Steele. 
"In  1762  and  in  1765  he  gained  premiums  from  the  So- 
ciety of  Arts  for  his  pictures  of  the  Death  of  Wolfe  and 
the  Death  of  King  Edward.    In  1773  he  visited  Italy,  and 
after  a  two  years'  absence  established  himself  in  London, 
where,  until   1797,  when  he  removed  to  Hampstead,  he 
divided  public  patronage  with  Reynolds  and  Gainsborough. 
He  painted  with  few  colors,  with  great  breadth  of  treat- 
ment, and  in  some  instances  with  exceeding  grace  and 
sentiment." 

— Cyclopedia  of  Painters  and  Paintings. 
"Grandeur  and  simplicity  became  the  principal  objects  of 
his  ambition.  He  perceived  these  qualities  distinctly  and 
employed  them  judiciously,  even  whilst  imitating  nature 
in  his  occupation  of  portrait  painting.  His  style  of  color- 
ing was  simple  and  broad.  In  that  of  his  flesh,  he  was 
very  successful,  exhibiting  a  great  variety  of  complexion 
with  much  warmth  and  richness.  The  executive  part  of 
his  work  was  free  and  precise,  without  being  trifling  and 


84  T.  B.  WALKER  COLLECTION. 


minute,  possessing  great  simplicity  and  exhibiting  a  purity 
of  feeling  consonant  with  the  style  of  his  compositions. 
He  aimed  at  the  best  of  all  principles  in  the  imitation  of 
nature,  that  of  generalizing  its  effects;  and  he  even  carried 
it  so  far  as  to  subject  himself  to  the  charge  of  negligence 
in  the  completion  of  his  forms;  but  the  truth  of  his  imita- 
tion is  sufficiently  perfect  to  satisfy  those  who  regard  na- 
ture systematically  and  not  individually  or  too  minutely." 

— Pilkington's  Dictionary  of  Painters. 

"He  was  more  employed  in  painting  portraits  than  his- 
torical subjects,  and  his  pictures  were  esteemed  inferior  to 
those  of  few  artists  of  his  time." 

— Bryants  Dictionary  of  Painters  and  Engravers. 


No.  73— "The  Widow." 

21  X  26. 

From  the  Collection  of  Sir  Cecil  Miles,  Leigh  Court. 

The  portrait  is  that  of  a  woman  yet  in  the  springtime  of 
life,  when  the  heart  beats  young  and  all  the  world  seems 
glad.  In  the  midst  of  the  springtime  of  her  joy  she  has 
been  robbed  of  the  companionship  of  the  only  one  in  all 
the  world  to  her.  The  black  dress  and  heavy  veil  are 
outward  indications  of  mourning,  but  the  real  sorrow  is 
wonderfully  portrayed  in  the  face  and  eyes  of  the  be- 
reaved woman. 

Mr.  Chas.  D.  Pratt,  art  critic  of  the  Alaska-Yukon  Ex- 
position, says:  "Romney  was  one  of  the  best  painters 
of  that  time,  known  principally  as  a  painter  of  Bacchantes 
and  Nymphs.  In  the  two  Romneys,  in  both  of  which  the 
beautiful  Lady  Hamilton  is  the  inspiration  for  the  artist, 
we  have  the  work  of  a  man  painting  in  a  style  far  beyond 


INDEX  AND  RTOGRAPHICAL  NOTES.  85 


his  day;  especially  is  this  so  in  'The  Widow,*  which  is 
quite  modern  in  treatment.  His  flesh  painting  is  tender 
and  good  color." 

SCHENCK  (August  Frederic-Albrccht)  Germany 

Born  at  Gluckstadt,  Holstein,  1828. 
^       Went  to  Paris,  and  studied  under  Leon  Cogniet. 
First  exhibited  at  the  Salon  in  1855. 
Medals  at  Paris,  1865;  and  Philadelphia,  1876. 


*No.  74 — "Lost  on  the  Mountain/' 

58x36. 

Schenck's  animal  subjects  are  not  always  melancholy 
like  the  present  one,  for  he  has  a  caustic  humor  of  his 
own,  but  he  is  best  known  by  subjects  such  as  this, 
where  the  condition  of  the  animals,  exposed  to  the  dan- 
gers of  snow  and  cold,  is  depicted  inj  a  way  that  spares 
none  of  the  agony. 

One  who  has  never  suffered  the  experience  of  being 
lost  in  a  storm  can  have  little  conception  of  the  horrors 
such  a  fate  entails.  Only  one  familiar  with  the  desola- 
tion and  loneliness  of  a  mountain  snow  storm  could  have 
pictured  the  scene  as  this  artist  has  in  this  painting. 

A  flock  of  sheep  are  huddled  together  in  a  blinding 
snow  storm.  The  shepherd  is  doing  his  best  to  protect 
his  gentle  charge,  but  the  fury  of  the  storm  seems  likely 
to  overcome  them  all.  Just  above  them  two  birds  of  prey 
are  poised,  waiting  the  time  when  they  may  pounce  upon 
the  dead  bodies.  The  picture  is  strong,  not  only  in  its 
painting  and  drawing,  but  in  its  feeling.  It  appeals  to 
one's  sympathy  keenly. 


86  T.  B.  WALKER  COLLECTION. 


SCHENDEL  (Petrus  Van)  Brussels 

Born  at  Ter  Hayden,  North  Brabant,  1806. 
Died  at  Brussels,  1870. 
History  and  Genre  painter. 
Pupil  of  Antwerp  Academy  under  Van  Bree,  1822-1828. 
Settled  first  in  Amsterdam,  then  in  Rotterdam,  where 
he  made  a  reputation  with  his  portraits. 
Went  to  The  Hague,  and  in  1845  to  Brussels. 
Became  known  especially  through  his  market  scenes 
with  light  effects. 

Medals,  Amsterdam,  1844;  Paris,  1845  and  1847. 
Chevalier  of  the  Order  of  Leopold  of  Belgium. 
21>^x26^. 

*No.  75— "The  Night  Market." 

A  characteristic  Van  Schendel.  Two  women,  with  in- 
tensely German  faces,  are  buying  vegetables  at  a  market 
stall.  The  yellow  candle  light  makes  the  far-away  moon 
look  pale  and  white  as  it  shines  on  the  distant  buildings. 
The  figures  are  strong  and  realistic,  and  the  coloring  rich- 
ly beautiful. 


SMITH  (H.  P.)   America 

Born  at  Waterford,  Connecticut,  1855. 

*No.  76— "Landscape"  (Sunset). 
14x11. 

A  hilly  eminence  crowned  with  trees  which  stand  out  in 
bold  relief  against  the  reddish  glow  of  the  setting  sun. 
Fine  sky  and  cloud  effects. 


INDEX  AND  BTOGRAinnCAL  NOTES.  87 


SMITH  (F.  Carl)   Washington,  D.  C. 

Was  born  at  Cincinnati,  Ohio.  His  parents  came  from 
Stuttgart,  Germany,  in  1849.  Carl  was  a  student  of  the 
Cincinnati  Museum  of  Art,  whence  he  won  a  medal.  Fin- 
ishing the  course  at  this  institution,  he  went  to  Paris, 
where  he  remained  six  years,  was  a  pupil  of  Bouguereau, 
Ferrier,  and  Benjamin  Constant  at  Julian  Academy  where 
he  received  honors.  He  exhibited  several  times  in  the 
Sklon  in  Paris,  also  in  the  leading  art  exhibitions  in  this 
country.  Mr.  Smith  is  an  indefatigable  worker,  painting 
portraits  of  notable  persons  in  Washington,  D.  C,  during 
the  winter  months,  and  usually  passes  his  summers  in 
Holland  "sketching  and  painting  genre  subjects.  His  color- 
ing is  clear  and  true  to  life.  His  portraits  are  designed 
with  exquisite  taste,  not  only  in  likeness  and  finish,  but 
he  has  to  a  marked  degree  that  rare  gift  of  portraying 
even  character  and  individuality.  In  addition  to  his  por 
trait  and  genre  works  in  Europe,  he  has  painted  portraits 
of  many  notable  people  in  America,  including  ^Secretary 
Shaw,  Mrs.  Fairbanks  and  others. 

"F.  Carl  Smith,  who  painted  the  portrait  of  Mrs.  Fair- 
banks, which  was  unveiled  tonight  at  Continental  Hall, 
has  an  attractive  studio  in  his  new  home  in  this  city, 
where  some  of  the  best  known  people  in  official  life  give 
him  sittings.  He  has  at  present  an  unfinished  canvas  of 
Speaker  Cannon  and  a  vividly  realistic  pose  of  Senator 
Hanna." 

— N.  Y.  Tribune,  Washington  Bureau,  April  17,  1903. 

"Although  widely  known,  both  in  this  country  and  in 
Europe,  for  his  excellent  figure  work,  Mr.  F.  Carl  Smith 
in  this  portrait  (of  Secretary  Shaw)  has  surpassed,  his 
friends  claim,  his  previous  efforts.  He  was  handicapped 
apparently,  as  the  Secretary  posed  for  him  in  all  only  six 
hours  and  a  half,  but  he  threw  into  his  work  that  nervrus 
enthusiasm  which  is  characteristic  of  *he  artist,  and  fhe 


88 


T.  B.  WALKER  COLLECTION. 


result  achieved  is  a  fine  example  of  American  portrait  art." 

— Evening  Star,  Washington,  May  23,  1903. 


No.  77— Joseph  G.  Cannon." 

Born  at  Guilford,  North  Carolina,  May  7th,  1836.  His 
parents  emigrated  to  Illinois  when  Joseph  was  a  boy.  By 
the  time  he  was  twenty-five  years  of  age  he  had  acquired  a 
legal  education  and  standing  and  was  elected  state  attor- 
ney for  Illinois.  He  was  a  member  of  the  state  govern- 
ment all  through  the  Civil  war  and  until  1868,  when  he  was 
elected  as  a  member  of  the  Forty-Third  Congress,  and  with 
the  exception  of  the  Fifty-Second  Congress  has  served  his 
district  continuously  to  this  time  (1909).  He  was  chosen 
as  speaker  of  the  House  of  Representatives  for  the  Fifty- 
Eighth  Congress  and  has  with  dignity  and  devotion  held 
this  high  judicial  position  through  each  succeeding  Con- 
gress to  and  including  the  present  extra  session.  This 
portrait  of  "Uncle  Joe"  was  painted  by  the  artist  for  his 
own  studio  out  of  admiration  for  the  strong  character  of 
this  astute  politician,  in  the  Speaker's  office  under  constant 
interruptions.  When  finished,  however,  it  was  pronounced 
a  very  remarkable  likeness. 

SCHUCH  (Werner  Wilhelm  Gustav)  Prussia 

Born  at  Hildesheim,  Prussia,  1843. 

Began  life  as  an  architect,  and  did  not  take  up  paint- 
ing until  he  was  thirty  years  old. 

In  1872  he  began,  without  any  teacher,  to  practice 
himself  in  oil  painting,  copying  pictures  in  the 

Dresden  Gallery,  and  making  sketches  from 
nature  in  Tyrol  and  Upper  Italy. 


INDEX  AND  BIOGRAPHICAL  NOTES.  89 


*No.  78— "Episode  from  the  Thirty  Years  War.'  " 

96  X  90. 

"A  body  of  troops  is  crossing  a  wild  stretch  of  country 
with  a  baggage-wagon  and  its  guard.  The  ravages  of  war 
are  hinted  at  in  the  ruins  of  a  castle,  with  its  shattered 
tower  and  dismantled  gable,  while  some  nearer  trees  serve, 
w^ith  their  blackened  trunks  and  blasted  branches,  as  em- 
blems of  its  former  pride,  now  fallen.  The  baggage-wagon 
is  a  cumbrous  structure,  too  heavy,  apparently,  for  the 
work  it  has  to  do  in  carrying  only  a  barrel  of  wine  and  a 
man  whose  business  seems  to  be  to  tap  the  barrel  occa- 
sionally for  a  thirsty  officer.  The  sturdy  wheels  j^lough 
deep  in  the  muddy  road,  but  the  outrider  on  one  of  the  two 
horses  that  drag  the  vehicle  has  only  an  inefifectual  dog- 
whip  to  urge  his  beasts.  By  the  side  of  the  team,  tlie  cap- 
tain, bare-headed,  and  with  his  leathern  doublet  protected 
by  pieces  of  armor,  sits  on  a  sturdy  cob  and  draws  the  rein 
as  he  turns  to  throw  back  some  jest  nt  the  man  on  the 
wagon.  He  holds  in  his  hand  a  flagon,  the  cover  raised, 
from  which  he  will  drink  again  when  his  jest  is  sped.  By 
the  side  of  the  wagon  a  man-at-arms  is  walking,  match-lock 
on  shoulder,  pipe  in  mouth  and  hand  in  pocket.  He  is 
dressed  in  doublet  and  breeches,  with  iron  helmet  and  big 
boots,  his  thick  beard  just  allowing  us  to  see  the  corners 
of  his  falling  linen  collar.  Behind  the  wagon  comes  the 
rest  of  the  convoy — a  band  of  musicians  with  fife  and  drum 
and  mounted  warriors  following,  some  in  armor  with  hel- 
met and  plume,  some  in  laced  jerkins  and  broad  brimmed 
hats  and  feathers — a  motley  crowd,  characteristic  of  this 
time  of  change,  when  old  faiths  and  customs  were  giving 
way  to  new,  and  the  world  seemed  for  the  time  being  in 
chaos.  So,  at  least,  the  donkey  by  the  roadside  thinks,  as 
he  plants  his  fore-feet,  shakes  his  head,  lifts  his  remon- 
strating ears  and  lets  his  angry  owner  thwack  him  with 
the  stout  oaken  cudgel  at  his  will.    Meanwhile,  the  woinan 


90 


T.  B.  WALKER  COLLECTION. 


on  his  back,  with  the  nursing  baby  in  her  arms,  joins  in 
the  laugh  of  the  soldiers  at  her  plight,  and  shakes  her  fist 
at  the  beast,  as  if  she  thought  the  affair  a  joke.  Not  so 
the  little  daughter,  however,  who  stands  by  the  donkey's 
side  crying,  half  for  pity  at  the  beating  he  is  getting  and 
half  for  fear  of  the  soldiers.  To  her  the  affair  is  any- 
thing but  a  joke."  — Art  and  Artists  of  Our  Time. 

Onward  they  come,  man  and  charger,  wife  and  goods, 
those  troops,  which,  during  Germany's  darkest  days, 
worked  the  people's  bitterest  woe. 

Who  has  not  heard  of  the  two  brave  leaders  of  the  con- 
tending forces  of  the  Thirty  Years  War — Ernst  von  Manns- 
feld  and  Christian,  of  Brunswick,  surnamed  "Mad  Halber- 
stadt?" 

As  early  as  the  year  1622  they  had  ravaged  the  terri- 
tories about  Mayence,  in  Alsatia  and  Westphalia,  and 
apain  in  the  year  1625  their  bloodthirsty  marauders  over- 
ran the  Arch-bishopric  of  Cologne,  plundering  and  devas- 
tating to  their  hearts'  content,  flaunting  their  device: 
''Eriends  to  God — Eoes  to  Priests." 

Ernst,  Count  Mannsfeld,  born  in  1580  and  educated  in 
the  Catholic  faith  at  the  Court  of  the  Archduke  Ernst  of 
.Austria,  afterwards  joined  the  League  and  enlisted  in  the 
Bohemian  service  in  the  year  1618.  He  took  Pilsen  by 
storm  and  was  put  under  the  ban  of  the  Empire.  When 
the  Count  Palatine  Frederick  laid  down  his  arms,  Manns- 
feld, in  company  with  Christian  of  Brunswick,  took  service 
in  the  armies  of  the  United  Provinces  of  the  Netherlands, 
until  he  disbanded  his  demoralized  army  in  1623.  At  the 
head  of  a  new  army  he  entered  the  Provinces  of  Moravia 
and  Hungary,  intending  to  pass  through  the  Turkish  do- 
minions and  penetrate  as  far  as  Venice.  On  the  way  thith- 
er, on  November  26th,  1626,  in  the  Bosnion  village  of 
Wrakowitz,  he  ended  his  career,  meeting  death  calmly, 
propped  in  the  arms  of  two  of  his  officers. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


91 


Christian,  Ducal  Prince  of  Brunswick,  born  1599,  ex- 
changed the  mitre  of  the  Monastery  of  Halberstadt,  which 
had  been  forced  upon  him,  for  the  sword,  at  the  moment 
when  the  unfortunate  Frederick,  the  Elector  Palatine,  the 
so-called  "Winter  King,"  lost  his  crown  at  the  battle  of 
"Amweissen  Berge,"  fought  against  Tilly.  Swearing  alle- 
giance to  the  colors  of  the  fugitive  king,  he  is  said  to  have 
enthusiastically  espoused  the  cause  of  the  beautiful  Eliz- 
abeth, Electress  Palatine.  After  knightly  fashion — thus 
the  tradition  reads — he  carried  on  his  hat,  in  lieu  of  plume, 
his  lady's  gauntlet,  and  the  device  of  his  sword  read:  Tout 
pour  Dieu  et  tout  pour  elle. 

While  yet  a  youth  of  twenty-seven,  he  died  from  the 
effects  of  exposure  endured  during  his  marches. 

SCHUSSELLE  (E.)   Philadelphia,  Pa. 

For  many  years  the  Art  Director  of  the  Academy  in  Phil- 
adelphia and  one  of  the  best  known  painters 
of  his  time. 

>KNo.  79— "General  Jackson  Before  Judge  Hall." 

[Fined  for  contempt  of  court,  at  New  Orleans,  in  1815.'] 

62x42. 

Painted  in  1859.  Schusselle  devoted  ten  years  of  care- 
ful work  to  reproducing  this  scene.  The  characters  are 
all  reliable  portraits  of  the  parties  and  the  painting  is  a 
correct  historical  reproduction  of  this  celebrated  scene. 

"General  Jackson,  like  a  true  soldier,  did  not  relax  his 
vigilance  after  the  victory  that  saved  Louisiana  from  Brit- 
ish conquest.  He  maintained  martial  law  in  New  Orleans 
rigorously,  even  after  rumors  of  a  proclamation  of  peace 
reached  that  city.  When  an  official  announcement  of 
peace  was  received  from  Washington,  he  was  involved  in 


92  T.  B.  WALKER  COLLECTION. 


a  contention  with  the  civil  authorities,  who  had  opposed 
martial  law  as  unnecessary.  In  the  Legislature  of  Louis- 
iana was  a  powerful  faction  opposed  to  him  personally, 
and  when  the  officers  and  troops  were  thanked  by  that 
body  (February  2d,  1815),  the  name  of  Jackson  was  omit- 
ted. The  people  were  very  indignant.  A  seditious  publi- 
cation soon  appeared,  which  increased  their  indignation, 
and,  as  this  was  a  public  matter,  calculated  to  produce 
dissatisfaction  in  the  army,  Jackson  caused  the  arrest  of 
the  author,  and  his  trial  by  martial  law. 

"Judge  Dominic  A.  Hall,  of  the  Supreme  Court  of  the 
United  States,  issued  a  writ  of  habeas  corpus  in  favor  of 
the  ofTender.  Jackson  considered  this  a  violation  of  mar- 
tial law,  and  ordered  the  arrest  of  the  judge  and  his  ex- 
pulsion beyond  the  limits  of  the  city.  The  judge  in  turn, 
when  the  military  law  was  revoked  in  consequence  of  the 
proclamation  of  peace,  required  Jackson  to  appear  before 
him  and  show  cause  why  he  should  not  be  punished  for 
contempt  of  court.  He  cheerfully  obeyed  the  summons, 
and  entered  the  crowded  court-room  in  the  old  Spanish- 
built  court  house  in  citizen's  dress.  He  had  almost 
reached  the  bar  before  he  was  recognized,  when  he  was 
greeted  with  huzzas  by  a  thousand  voices.  The  judge  was 
alarmed  and  hesitated.  Jackson  stepped  up,  procured  si- 
lence, and  then,  turning  to  the  trembling  judge,  said:  *There 
is  no  danger  here — there  shall  be  none.  The  same  hand 
that  protected  this  city  from  outrage  against  the  invaders 
of  the  country  will  shield  and  protect  this  court,  or  per- 
ish in  the  effort.  Proceed  with  your  sentence.'  The  agi- 
tated judge  pronounced  him  guilty  of  contempt  of  court 
and  fined  him  $1,000.  This  act  was  greeted  by  a  storm 
of  hisses.  The  general  immediately  drew  a  check  for  the 
amount,  handed  it  to  the  marshal  and  then  made  his  way 
to  the  court  house  door.  The  people  were  intensely  ex- 
cited. They  lifted  the  hero  upon  their  shoulders,  bore 
him  to  the  street,  and  there  an  immense  crowd  sent  up  a 


INDEX  AND  BIOGRAPHICAL  NOTES.  93 


shout  that  blanched  the  cheek  of  Judge  Hall.  Jackson 
was  placed  in  a  carriage  from  which  the  people  took  the 
horses,  and  dragged  it  themselves  to  his  lodgings,  where 
he  addressed  them,  urging  them  to  show  their  apprecia- 
tion of  the  blessings  of  liberty  and  a  free  government  by 
a  willing  submission  to  the  authorities  of  their  country. 
Meanwhile  $1,000  had  been  collected  by  voluntary  subscrip- 
tions and  placed  to  his  credit  in  a  bank.  The  general 
politely  refused  to  accept  it,  and  begged  his  friends  to  dis- 
tribute it  among  the  relatives  of  those  who  had  fallen  in 
the  late  battles. 

^'Nearly  thirty  years  afterwards  (1843)  Congress  re- 
funded the  sum  with  interest,  amounting  in  all  to  $2,700." 

— Cyclopedia  of  United  States  History. 


TAIT  (Arthur  F.),  N.  A  New  York 

Born  at  Liverpool,  1819. 
Came  to  America,  1850. 
Elected  a  member  of  the  National  Academy,  1858. 


*No.  80— "Maternal  Solicitude." 

19  X  25 

An  example  of  maternal  solicitude.  A  valiant  little  hen 
defending  her  chickens  against  a  black  spaniel. 


THORPE. 


No.  81— Tortrait  of  Thomas  B.  Walker." 


94 


T.  B.  WALKER  COLLECTION. 


TURNER  (Joseph  Mallord  William)  England 

Born  at  London,  1775. 
Died,  December  19,  1851. 
Entered  Schools  of  Royal  Academy  in  1789. 
Became  A.  R.  A.  in  1799;  R.  A.,  1802. 
Professor  of  Perspective  in  Royal  Academy  in  1807. 
Turner's  genius  was  early  recognized  by  the  Royal  Acad- 
emy, for  in  1799,  when  only  twenty-four,  he  was  elected  an 
Associate,  and  three  years  later  became  an  Academician. 
His  famous  ''Liber  Studiorum,"  ranks  among  the  important 
labors  of  his  life.    The  Turner  Room  in  the  National  Gal- 
lery, London,  contains  seventy  of  his  best  works.    He  died 
at  Chelsea  and  was  buried  in  St.  Paul's  Cathedral. 

"Turner  was  not  only  the  greatest  English  landscape 
painter,  but  the  greatest  interpreter  of  nature  of  any  time 
or  country.  No  landscapes  convey  so  natural  and  complete 
a  sense  of  light  and  shadow  and  atmosphere,  or  so  entire  a 
mastery  of  color  as  his." 

— D^Anvers'  Elementary  History  of  Art. 

"The  exhibition  of  1815  was  a  remarkable  one  as  regards 
Turner.  Of  the  eight  works  by  him  contained  in  it,  four 
were  in  their  several  characters  of  the  utmost  degree  mas- 
terly—The  Battle  of  Ford  Bard  in  the  Vale  of  Aosta,'  a 
large  water-color  drawing;  'Blind  Sand,'  'Crossing  the 
Brook,'  and  'Dido  Building  Carthage' — all  different,  and 
each  sufficient  to  have  made  a  painter's  reputation.  They 
are  all  four  now  in  the  National  Collection." 

— The  Turner  Gallery. 

"Turner,  the  best  known  name  in  English  art,  is  rep- 
resented (in  the  Alaska-Yukon-Pacific  Exoosition)  by  one 
of  his  famous  Venetian  scenes  and  a  classic  landscape  in 
the  tropics.  He  renders  the  poetry  of  nature  as  no  other 
artist,  and  the  composition  of  his  pictures  is  faultless;  in 
portraying  gorgeous  effect  and  the  phenomena  of  nature, 


INDEX  AND  BTOGRAPTTTCAL  NOTES. 


95 


he  excels.  Ele  was  the  apostle  of  light,  and  an  artist  of 
sublime  genius." 

"^Chas.  D.  Pratt,  Art  Critic  Alaska-Yukon  Expo.  1909. 

No.  82— "Venice/' 

44  X  56. 

From  the  Collection  of  Lord  Townscnd. 
Mr.  Turner  was  engaged  by  Lord  Townscnd  to  paint 
this  large  picture  for  his  private  galleries.  It  is  without 
doubt  one  of  the  best  and  largest  of  this  master's  many 
Venetian  scenes.  There  is  not  likely  extant  another  paint- 
ing more  representative  of  Turner's  peculiar  and  attractive 
style  than  this  Townsend  picture.  His  colorings  run  from 
rich  deep  reds  to  the  most  delicate  shades  of  pink  and 
green,  all  blended  with  such  harmony  as  to  be  most  pleas- 
ing and  beautiful.  The  vari-colored  reflections  in  the  wa- 
ters of  the  canal  have  probably  never  been  equaled  by 
himself  or  any  other  master  of  the  brush. 

VAN  DYCK  (Sir  Anthony). 

Flemish  School. 
English  School. 
Born  at  Antwerp,  1599. 
Died  in  England,  1641. 
Pupil  of  Rubens. 
*'He  is  chiefly  distinguished  as  a  portrait  painter,  al- 
though he  executed  many  historical  paintings.  Wornum 
says:  'As  a  portrait  painter  Van  Dyck  is  generally  allowed 
to  dispute  the  palm  with  Titian.     His  portraits  are  in- 
ferior to  Titian's  in  color  and  in  solidity  of  efifect.    In  all 
other  respects  Van  Dyck  was  fully  equal  if  not  superior 
to  the  great  Venetian  painter.'  " 

—Hoyfs  The  Historic  Schools  of  Painting. 


96 


T.  B.  WALKER  COLLECTION. 


^'Inferior  to  Rubens  in  imagination  and  energy  of  char- 
acter, he  excelled  him  in  feeling  for  spiritual  beauty,  in 
elevation  of  sentiment  and  refinement  of  execution.  Van 
Dyck  was  pre-eminently  a  portrait  painter,  and  as  such  is 
admitted  to  rank  with  Titian;  but  he  also  attained  to  high 
excellence  in  the  treatment  of  sacred  subjects. 

'Tn  portraiture  Van  Dyck  rises  to  the  greatest  height, 
and  fears  no  rival  but  Titian,  Holbein,  Velasquez  and 
Rembrandt."        — D'Anvers'  Elementary  History  of  Art. 

**Van  Dyck's  best  work  is  in  portraiture,  and  he  is  one 
of  the  most  accomplished  masters  of  that  art.  First  in 
Italy,  and  then  at  the  court  of  Charles  I  of  England,  he 
had  frequent  opportunity  to  immortalize  the  princes,  the 
prelates  and  the  brilliant  aristocracy  of  his  time.  All  of 
these  pictures  are  remarkable  for  a  thoroughly  dignified 
conception,  a  wonderful  refinement  of  psychological  por- 
traiture and  for  the  charms  of  their  incomparably  clear, 
soft  and  finely-treated  coloring." 

— Lubke's  The  History  of  Art. 

^'Refined,  elegant,  exquisite  in  taste  and  sweet  in  color, 
his  is  almost  unrivalled.  His  hands  are  noted  for  their 
beauty,  his  heads  unconstrained  and  full  of  life  and  truth; 
the  action,  simplicity  and  dignity  of  his  figures  and  grace 
of  his  draperies  are  unsurpassed." 
— Redgrave's  Dictionary  of  Artists  of  the  English  School. 

'Tn  portraiture  Van  Dyck  will  not  be  denied  the  most 
honorable  place  after  Titian,  and  it  will  then  be  admitted 
that  Titian  only  retains  this  superiority  in  the  heads  of 
his  portraits,  and  that  in  the  hands  and  accessories  he  was 
inferior  to  our  painter,  both  in  correctness  and  elegance. 
His  attitudes  are  easy  and  natural  and  they  captivate  by 
an  air  of  unafTected  simplicity  for  which  his  portraits  are 
singularly  remarkable.  His  heads  are  full  of  life  and  ex- 
pression, without  anything  of  the  coldness  and  insipidity 


INDEX  AND  BIOGRAPHICAL  NOTES.  97 


which  arc  frequently  found  in  the  productions  of  the  por- 
trait painter." 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

''According  to  Fuseli,  Van  Dyck  deserves  the  next  pLace 
after  Titian  in  portrait  painting.  Inferior  to  that  master 
in  richness  and  warmth  of  coloring,  he  surpassed  him  in 
almost  every  other  respect.  He  is  unrivalled  for  the  deli- 
Ctjte  drawing  and  beauty  of  his  hands;  he  was  a  perfect 
lAaster  of  drawing  and  chiaroscuro;  he  was  admirable  in 
draperies;  with  simplicity  of  expression  and  graceful  atti- 
tudes he  combined  both  dignity  and  individuality;  his  heads 
are  full  of  life  and  expression  without  anything  of  the 
coldness  and  insipidity  which  are  frequently  found  in  the 
productions  of  the  portrait  painter." 

— Spooner's  History  of  the  Fine  Arts. 

^'No  master  from  beyond  the  Alps  ever  took  up  a  higher 
position  than  Van  Dyck  among  the  most  celebrated  repre- 
sentatives of  Italian  art. 

*'Van  Dyck  is  one  of  the  most  brilliant  figures  in  the 
history  of  art.  That  he  should,  in  the  same  subjects  cho- 
sen by  Rubens,  have  attained  the  same  degree  of  expression 
was  scarcely  possible.  Rubens  was  exceptional  precisely 
through  the  sweep  and  power  of  his  imagination;  but  Van 
Dyck,  applying  the  same  principles  to  portrait  painting, 
was  no  less  exceptional.  Titian,  Raphael,  Rembrandt,  Ve- 
lasquez and  Frans  Hals  are  not,  on  the  whole,  superior  to 
him  in  this  branch.  They  often  delight  us  with  their  tech- 
nical excellence  or  penetrating  study  of  individuality,  but 
their  conception  remains  entirely  different  from  that  of 
Van  Dyck.  With  him,  as  with  Rubens,  physiognomical 
mterpretation  is  so  intimately  connected  with  picturesque 
necessity  that  his  portraits  scarcely  ever  fail  to  leave  an 
indelible  impression  on  the  mind." 

— Encyclopedia  Britannica. 


98  T.  B.  WALKER  COLLECTION. 


No.  83— "Mother  and  Child." 

32  X  26. 

"This  beautiful  painting  is  a  genuine  Replica  of  a  larger 
one  which  is  in  Dulwich  Gallery,  London.  It  came  from 
the  collection  of  Lord  Jersey,  and  was  purchased  many 
years  ago,  when  its  authenticity  was  not  doubted." 

Chas.  D.  Pratt,  art  critic  of  the  Alaska-Yukon  Exposi- 
tion says:  'This  painting,  "Mother  and  Child,"  is  an 
earlier  work,  and  shows  evidence  of  his  sojourn  in  Italy." 

No.  84— "Portrait  of  the  Duke  of  Stafford." 

35  x47>^. 

From  the  Collection  of  the  Duke  of  Fife. 

Thomas  Wentworth  Stafford,  Earl  of,  an  English  Gen- 
eral, born  in  London  abort  1593.  In  1614  he  was  elected  to 
Parliament  for  Yorkshire.  In  1628  he  was  created  a  baron 
and  appointed  lord  councilor  of  the  North  and  privy  coun- 
sellor. In  1631  he  was  appointed  Lord  Deputy  of  Ireland, 
which  he  governed  in  a  tyrannical  manner.  He  was  creat- 
ed Earl  of  Stafford  in  1639.  His  design  was  to  make  the 
royal  power  as  absolute  in  England  as  it  was  in  Ireland. 
The  revolt  of  the  Scotch,  whom  the  King  foolishly  pro- 
voked to  fight  for  their  religious  rights,  interfered  with  the 
success  of  Stafford's  scheme.  At  this  juncture  (1640) 
Charles  I  appointed  Stafford  General  In  Chief  of  the  army. 
But  before  he  could  join  the  army  it  was  driven  from  the 
border  by  the  insurgents  and  the  war  was  ended  by  a 
treaty.  Parliament  in  November,  1640,  impeached  Stafford 
for  high  treason.  After  a  trial  lasting  several  months,  the 
Duke  of  Stafford  was  beheaded  in  May,  1641. 

This  splendid  portrait  shows  the  Earl  in  full  uniform  ac- 
companied by  his  faithful  dog. 


INDEX  AND  BIOGRAPHICAL  NOTES.  99 


Mr.  Pratt,  art  critic  for  the  Alaska-Yukon  Exposition, 
says:  "Van  Dyck's  best  work  was  his  portraiture,  for 
which  he  becarhe  famous.  He  has  refined  color  and  great 
dignity  of  purpose.  His  Duke  of  Strafford  is  a  man  of 
breeding  and  distinction." 

No.  85— "Children  of  Charles  I." 

From  the  Collection  of  the  Duke  of  Sutherland,  Trenham 
Hall,  Stoke  in  Trent. 
The  children  are  Prince  Charles,  who  became  King 
Charles  II,  Prince  James,  who  became  King  James  II,  and 
Princess  Elizabeth.  A  beautiful  and  interesting  portrait 
in  Van  Dyck's  finely  treated  coloring. 

VERNET  (Claude  Joseph)  France 

Born  at  Avignon,  1712. 
Died  at  Paris,  1789. 
French  School. 
Marine  painter. 
Son  and  pupil  of  Antoine  Vernet,  and  pupil  of  Adrien 
Manglard. 

Went  to  Rome  in  1732  and  studied  with  Fergioni,  Panini 
and  Solimena. 

He  became  the  first  marine  painter  in  Europe  and  was 
patronized  by  many  courts. 
Was  commissioned  by  the  King  to  paint  all  the  seaports  of 
France.    He  completed  fifteen  of  the  twenty,  when 
he  became  wearied  of  traveling,  and  returned 
to  France. 

"His  marines  and  seaports  vie  with  his  landscapes  for  su- 
periority and  nothing  can  exceed  the  purity  of  his  skies.  He 


100  T.  B.  WALKER  COLLECTION. 


effected  a  revolution  in  art  by  simply  setting  the  sun  in 
heaven.  Until  his  time  no  one  had  thought  of  painting 
the  sun  except  conventionally.  He  painted  the  effects  of 
misty  shadows  and  other  delicate  aerial  transitions  as  no 
one  had  ever  done  before. 

No.  86— "Italian  Seaport"  (Sunset). 

62  X  42. 

In  a  quiet  harbor  some  caravels  are  moored.  On  the 
shore  on  either  side  are  some  fine  old  castles,  the  one  on 
the  right  being  high  up  on  the  hill  side.  In  the  fore- 
ground some  fisher-folk  are  lighting  a  fire.  The  sky  is 
bright  v^ith  the  last  rays  of  the  setting  sun,  which  is  just 
sinking  beneath  the  horizon.  The  water  sparkles  under 
its  bright  rays  and  light  clouds  sweep  across  the  sky. 

Chas.  D.  Pratt,  art  critic,  Alaska-Yukon-Pacific  Exposi- 
tion, 1909,  says:  ^'Hanging  near  by  Lorraine's  ''Classic 
Harbor  Scene"  is  an  "Italian  Seaport,"  by  Claude  Vernet, 
who  painted  more  than  two  hundred  marine  pictures." 

VERONESE  (Paolo). 

Born  in  Verona  in  1528. 
Died  in  Venice  in  1588. 
Venetian  School. 
Real  name  was  Paolo  Caliari  or  Cagliari. 
"As  Titian  was  then  very  old,  Veronese  shared  with 
Tintoretto  the  most  important  commissions.    He  received 
orders  from  the  Emperor  Rudolph  II,  Duke  of  Savoy,  and 
the  Duke  of  Modena." 

— Cyclopedia  of  Painters  and  Paintings. 

"His  first  works  in  Venice  were  for  the  church  of  San 
Sebastiano.    Here,  after  painting  the  ceiling  of  the  Sacris- 


INDEX  AND  BIOGRAPHICAL  NOTES.  101 


ty,  he  was  commissioned  to  undertake  the  ceiling  of  the 
church  itself^  which  he  decorated  with  gorgeous  scenes 
from  the  history  of  Esther.  These  were  so  much  admired 
that  the  prior  further  employed  him  to  paint  a  beautiful 
altar  piece  of  the  Madonna  in  glory,  and  several  smaller 
works.  *  *  Indeed.,  the  whole  church  of  San  Sebastiano 
glows  with  his  work  and  remains  a  splendid  monument  of 
his  masterly  power  and  skill." 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

^'His  taste  was  better  adapter  to  large  and  small  compo- 
sitions, for  though  in  the  latter  his  merit  in  coloring  and 
design  was  evident,  yet  in  the  former  he  displayed  all 
the  fire  of  his  imagination  and  the  vertility  and  magnifi- 
cence of  his  invention.  In  most  of  his  large  works  he 
was  either  the  associate  or  competitor  of  Tintoretto;  nor 
was  the  prominence  of  either  ever  determined.  If  Tin- 
toretto was  allowed  to  imitate  nature  with  superior  force 
and  vivacity  and  more  truth  of  color,  Veronese  was  ac- 
knowledged to  have  a  finer  invention,  more  grace  in  his 
figures,  more  dignity  in  his  characters  and  more  elegance. 
His  composition  is  grand,  his  design  noble,  and  executed 
with  truth  and  spirit." 

— Pilkington's  Dictionary  of  Painters. 

'Taolo  Veronese  rivaled  even  Titian  in  the  grandeur  of 
his  individual  forms,  and  Tintoretto  in  the  magnificence 
of  his  compositions. 

"Paolo  worshipped  beauty  for  its  own  sake  only,  and 
was  thoroughly  in  touch  with  it  in  its  every  manifesta- 
tion. His  imagination  was,  it  has  been  somewhat  carp- 
ingly  said,  neither  exalted  or  profound;  but  even  if  this 
be  true,  he  was  undoubtedly  able  to  reproduce  what  he 
saw  with  a  truthfulness  and  skill  rarely,  if  ever,  sur- 
^^assed.  To  interpret  faithfully  the  relations  and  mutual 
effect  of  the  various  figures  and  objects  brought  together 
in  one  scene;  to  translate  successfully  every  subtle  effect 
of  light  on  an  infinite  variety  of  surface  and  gradation  of 


102  T.  B.  WALKER  COLLECTION. 


color;  to  immortalize  the  lovely  women  and  noble-looking 
men  with  whom  he  was  brought  into  contact,  and  to 
transmute  into  one  harmonious  whole,  in  which  there  was 
never  any  confusion,  all  the  scattered  and  conflicting  ele- 
ments of  charm  in  the  great  banqueting  scenes,  at  which 
he  himself  often  assisted,  were  the  chief  aims  of  the  Mas- 
ter, and  that  he  fully  realized  them  not  even  the  most 
grudging  critic  can  deny." 

— Biography  of  Paolo  Veronese,  by  Mrs,  Arthur  Bell. 


No.  87— "Bacchus  and  Nymph." 

39j4x29^. 

Bacchus,  the  god  of  wine,  is  seen  pleading  with  a  beau- 
tiful nymph,  and  although  not  convinced,  she  seems  an 
interested  listener.  Age  has  darkened  this  splendid  can- 
vas somewhat,  yet  the  grace  of  his  figures,  the  dignity  of 
his  characters,  and  the  elegance  of  his  composition  show 
plainly  the  handiwork  of  this  great  master. 


VUILLEFROY  (Dominique  Felix  de). 

Born  at  Paris,  184L 
Animal  and  landscape  painter. 
Pupil  of  Hebert,  Bonnat  and  Tryon. 
Medals,  1870  and  1875. 
Legion  of  Honor,  1880. 
Hors  Concours* 


INDEX  AND  BIOGRAPHICAL  NOTES.  103 


*No.  88— "Troop  of  Cattle  Coming  Down  the 
Mountain." 

45>^x3l5^. 

A  scattered  herd  of  cattle,  sturdy,  and  well-drawn,  follow 
a  wandering  path  down  the  grassy  slope  of  the  mountain. 
In  the  sky  a  heavy  mountain  mist  hangs  over,  as  though 
threatening  any  instant  to  break  into  a  storm. 
WART  (A.  Van). 

A  prominent  American  sculptor  who  died  before  reach- 
ing middle  age,  but  became  quite  famous  by  producing  in 
marble  busts  and  statues  of  many  noted  Americans. 


No.  89 — "Marble  Bust  of  Washington  Irving." 

From  the  collection  of  William  L.  Worthington,  New  York. 


WEBBER  (John),  R.  A  England 

"Born  in  London,  1751,  but  his  father,  who  was  a  sculp- 
tor, was  a  native  of  Berne,  Switzerland.  Part  of  his  edu- 
cation as  an  artist  he  received  at  Paris,  but  he  completed  it 
in  the  Royal  Academy,  of  which  institution  he  was  elected 
an  associate  in  1785  and  a  Royal  Academican  in  1791. 

In  the  last  voyage  made  by  Captain  Cook  round  the 
world,  Mr.  Webber  was  appointed  draughtsman  to  the 
expedition.  He  returned  to  England  in  1780.  He  died  in 
1793."  — Pilkington's  Dictionary  of  Painters. 

No.  90— "The  Cliffs  of  Dover." 

33^4  X  53. 

The  Straits  of  Dover  is  a  narrow  channel  between  Dover, 
England,  and  Calais,  France.  At  the  narrowest  part  it  is 
only  twenty-one  miles  wide,  and  its  depth  at  the  highest 


104  T.  B.  WALKER  COLLECTION. 


spring  tides  is  about  twenty-five  fathoms.  On  both  the 
French  and  English  sides  those  chalky  cliffs  show  a  cor- 
respondency of  strata,  which  leaves  no  room  for  doubt  that 
they  were  once  united,  although  this  fact  is  otherwise 
known. 

The  celebrated  castle  of  Dover  stands  on  one  of  those 
chalky  cliffs,  350  feet  high. 


WEST  (Benjamin). 

Born  at  Springfield,  Pennsylvania,  1738. 

Left  America  in  1760  for  three  years'  study  in  Italy. 
On  his  return  he  stopped  in  England,  where  the 
profitable  patronage  of  George  III  induced  him 
to  remain.    He  then  inaugurated  what  Hay- 
don  calls  "high  art/'  and  was  praised  as 
an  English  Raphael. 

He  died  in  1820  and  was  buried  with  great  pomp  in 
St.  Paul's  Cathedral. 

"There  has  not  yet  appeared  a  learned,  just  and  academic 
critique  upon  the  works  of  West,  but  there  can  be  no  doubt 
that  such  an  one  would  pronounce  him  the  greatest  histor- 
ical painter  of  the  eighteenth  century." 

— Spooner's  History  of  the  Fine  Arts. 

"West,  who  was  much  patronized  by  the  King  (George 
III),  was  one  of  the  first  members  of  the  Royal  Academy 
and  succeeded  Sir  Joshua  Reynolds  as  President  of  that 
institution  in  1792." 

— D'Anvers*  Elementary  History  of  Art. 


INDEX  AND  BIOGRAPHICAL  NOTES.  105 


'''No.  91 — **Lear  Discovered  in  the  Hut  by 
Gloucester." 

28  X  22. 

By  the  lurid  light  of  the  flaring  lamp,  Gloucester  discov- 
ers the  raving  Lear  in  the  dark  and  discomfort  of  the  half- 
ruined  hut.  The  long  hair  and  drenched  garments  of  the 
King  whip  in  the  roaring  v^ind  and  rain,  as  he  peers  in 
half-conscious  frenzy  into  the  face  of  the  faithful  Glouces- 
ter. All  around  is  the  storm,  darkness,  and  rain.  On  the 
left  a  lurid  flash  of  lightning  cracks  the  inky  sky  with  an 
instant's  blinding  fire.  In  the  background,  the  shadowy  out- 
lines of  the  hut  are  discernible. 

WESTERBEEK  (C.). 

*No.  92— 'Returning  from  the  Fields." 

40  X  20. 

A  flock  of  sheep  are  being  driven  along  a  country  road 
by  a  peasant  woman.  The  road  leads  straight  up  through 
the  center  of  the  picture,  the  flock  in  the  immediate  fore- 
ground receding  from  the  spectator.  The  picture  is  painted 
in  a  soft  tone,  with  careful  effect  and  conscientious  finish 
of  execution. 

WILSON  (Richard). 

Born  at  Pinegas,  Montgomeryshire,  Aug.  1,  1713. 
Died  at  Llanberris,  Carnarvonshire,  May,  1782. 
Landscape  and  portrait  painter. 
Pupil  of  Thomas  Wright. 
Later  studied  in  Italy. 
His  picture  of  "Niobe"  gained  him  recognition  on  its  ex- 


106  T.  B.  WALKER  COLLECTION. 


hibition  at  the  Society  of  Fine  Arts.  It  was  purchased  by 
the  Duke  of  Cumberland.  Wilson  was  one  of  the  original 
members  of  the  Royal  Academy  and,  in  1776,  was  appointed 
its  librarian. 

Long  after  his  death  the  popular  taste  became  educated 
to  his  standard  and  he  is  now  regarded  as  one  of  the  great- 
est of  English  landscape  painters." 

— Cyclopedia  of  Painters  and  Paintings, 

"In  1749  he  was  employed  by  Dr.  Hayter,  then  their  tutor, 
to  paint  the  portraits  of  the  Prince  of  Wales  and  the  Duke 
of  York.  There  are  many  portraits  by  him  at  the  Garrick 
Club  and  in  private  collections.  Richard  Wilson  was  the 
greatest  landscape  painter  which  the  British  School  pro- 
duced up  to  the  end  of  the  last  century." 

— Painters  and  Their  Works, 

"The  style  of  Wilson  is  altogether  original.  Following 
nature  as  his  guide,  he  adopted  a  varied  and  interesting 
manner,  distinguished  for  its  boldness  and  fidelity  to  nature, 
yet  entirely  classical.  He  avoided  the  acquisition  of  all  ad- 
ventitious beauties  and  escaped  the  mannerism  which  gen- 
erally arises  from  the  too  partial  study  of  favorite  masters." 

— Spo oner's  History  of  the  Fine  Arts. 

"Of  the  style  of  Wilson  it  might  be  sufficient  to  observe, 
that  it  formed  an  epoch  in  English  landscape  painting; 
being  equaled  by  none  before,  and  perhaps  not  surpassed 
by  any  who  have  followed  in  the  same  line.  His  claims 
to  praise  are:  grandeur  in  the  choice  or  invention  of  his 
scenes,  felicity  in  the  distribution  of  his  lights  and  shadows, 
freshness  and  harmony  in  his  tints.  Mr.  Fuseli  says,  in  his 
figurative  manner,  that  'Wilson's  taste  was  so  exquisite, 
and  his  eye  so  chaste,  that  whatever  came  from  his  easel 
bore  the  stamp  of  elegance  and  truth.  The  subjects  he 
chose  were  such  as  did  credit  to  his  judgment;  they  were 
selections  of  taste;  and  whether  of  the  simple,  the  elegant, 
or  the  sublime,  they  were  treated  with  an  equal  felicity.  In- 
deed, he  possessed  that  versatility  of  power  as  to  be  one 


INDEX  AND  BIOGRAPHICAL  NOTES.  107 


minute  an  eagle  sweeping  the  heavens  and  the  next  a  wren 
twittering  a  simple  note  on  the  humble  thorn.'  His  color- 
ing was  in  general  vivid  and  natural;  his  touch  spirited 
and  free;  his  composition  simple  and  elegant;  his  lights 
and  shadows  broad  and  well  distributed;  his  middle  tints 
in  perfect  harmony;  while  his  forms  in  general  produced 
a  pleasing  impression." 

— Pilkington's  Dictionary  of  Painters. 
"Richard  Wilson  was  the  greatest  landscape  painter 
wh^ch  the  British  School  produced  up  to  the  end  of  the  last 
century.  Fashion  may  at  one  time  cause  works  of  an  artist 
to  rise  artificially  above,  and  at  another  to  sink  below,  their 
real  value,  but  where,  as  in  the  case  of  Wilson's,  the  prices 
paid  for  them  at  auctions  have  remained  about  the  same  for 
a  century,  no  amount  of  adverse  and  prejudiced  criticism 
will  prove  that  they  are  worthless,  or  that  the  favorable 
opinion  of  those  who  purchased  them  was  wrong." 

— Painters  and  Their  Works,  Vol.  3,  Page  308. 

No.  93— "The  Ancient  City." 

31x39^. 

In  the  left  foreground  are  seen  the  ruins  of  a  great  castle, 
or  cathedral;  its  sombre  walls  overlooking  the  rough  wood- 
ed  valley  below,  and  the  plain  far  beyond  where  lie  the 
ruins  of  a  city  of  the  ancients.  The  vicissitudes  of  time 
have  left  but  little  from  which  to  judge  of  the  architecture 
or  design,  yet  these  bleak  ruins  are  a  mute  reminder  that 
unknown  ages  ago  there  existed  here  a  people  far  advanced 
in  civilization  and  the  arts,  but  whose  passing  or  decay  is 
shrouded  in  even  deeper  mystery  than  that  of  Tyre  and 
Sidon.  How  much,  if  any,  of  these  earlier  civilizations  has 
been  handed  down  to  more  modern  peoples  can  never  be 
known;  but  no  doubt  much  of  the  knowledge  and  advance- 
ment attained  in  these  early  times  is  as  completely  lost  as 


108  T.  B.  WALKER  COLLECTION. 


is  the  history  of  the  people  who  built  and  inhabited  these 
cities.  What  was  once  the  fertile  plains  is  now  a  barren 
waste,  save  here  and  there  kind  nature  finds  sufficient  s:,i\ 
to  produce  a  semblance  of  vegetation. 

The  color  arrangement  and  distribution  of  light  show 
this  painting  to  be  the  work  of  a  master. 


ZAMPIGHI  (E.)   Italy 

*No.  94— "The  First  Steps." 

42  X  30. 

There  is  a  certain  naive  charm  of  childhood  about  this 
picture.  It  represents  the  interior  of  a  laborer's  home,  in 
which  a  mother  and  grandmother  are  seen  endeavoring  to 
persuade  a  little  child  to  attempt  its  first  steps  unaided,  into 
the  outstretched  arms  of  its  grandmother.  The  mother  is 
supporting  the  child  in  a  standing  position,  while  grand- 
mamma, a  few  feet  away,  is  lovingly  persuading  the  little 
one  to  make  the  attempt  to  walk  the  short  distance  alone. 
Through  the  open  door  other  children  can  be  seen  at  play 
in  the  street.  This  picture  is  striking  in  its  simplicity  and 
remarkable  for  its  realism.  The  blending  of  the  colors  and 
the  drawing  are  excellent.  All  the  little  details  have  been 
so  thoroughly  worked  out  that  one  does  not  feel  the  want 
of  knowledge  to  appreciate  its  attractiveness.  As  an  ex- 
ample of  realism  in  art,  one  little  detail  may  be  commented 
upon.  Notice  the  little  map  of  Italy  that  is  upon  the  wall! 
See  how  it  stands  out!  At  first  sight  it  becomes  a  question 
with  many  as  to  whether  the  map  is  not  a  small  piece  of 
paper  that  has  been  pasted  on  the  canvas.  Few  artists 
have  reached  such  a  climax  in  their  attempts  in  this  direc- 
tion. 


INDEX  AND  BIOGRAPHICAL  NOTES.  109 


ZEIM  (Felix). 

Born  at  Beaune  (Cote-d'Or),  1821. 
Architectural  and  marine  painter. 
Pupil  of  Art  School  at  Dijon. 
Traveled  in  1845-1848  in  Southern  France,  Italy  and 
the  East. 
Medals,  1851,  1852  and  1855. 

Legion  of  Honor,  1857;  Officer,  1878. 
"His  pictures,  especially  his  views  of  Venice,  have  won 
for  him  a  world-wide  reputation." 

— Cyclopedia  of  Painters  and  Paintings. 
*'Felix  Zeim  must  not  be  forgotten  for  the  glowing 
Venetian  views,  architectural  and  marine,  which  we  owe 
to  his  brush.  His  tastes  are  all  oriental,  though  he  has 
painted  a  splendid  *View  of  Antwerp,'  as  well  as  *View  of 
Constantinople.' " 

— Radcliife's  Schools  and  Masters  of  Painting, 

No.  95— "A  Noontime  Siesta," 

25  x3554. 

In  this  beautiful  picture  the  artist  presents  a  magnificent 
view  of  the  Grand  Canal,  the  principal  thoroughfare  of 
Venice.  Facing  the  canal  on  either  side  are  the  principal 
buildings  of  the  city,  the  tall  steeple  in  the  center  marking 
the  Palace  of  the  Doges  or  Governors.  The  day  is  hot,  and 
the  boats  lie  quiet  in  the  shadows,  while  only  an 
occasional  gondola  plies  the  crystal  waters.  It  is  a  noon- 
time siesta.  When  evening  breezes  cool  the  heated  air, 
the  canal  will  be  filled  with  numerous  pleasure  craft  and 
the  song  of  the  gay  gondolier. 


110 


LIBRARY  COLLECTION. 


ADDENDA. 

AAGAARD  (Carl  Frederick). 

Born  at  Odense,  Denmark,  Jan.  29,  1833. 
Landscape  painter.    First  instructed  in  his  native  place. 
Then  pupil  of  Copenhagen  Academy  and  in  1853  of 
P.  C.  Skovgaard.    Visited  in  Italy  before  1871  and 
in  1875-76. 

Member  of  Copenhagen  Academy  in  1874. 

A — "Early  Morning  at  Oresund." 

68x48. 
Loaned  by  the  Exposition. 
In  the  foreground  is  a  low,  sandy  beach  and  a  lone  fish- 
erman's wife  looking  intently  at  the  shipping  lying  just  off 
shore.  In  the  offing  are  several  ships,  some  scarcely  dis- 
cernible through  the  gray  dawn  of  the  early  morning, 
while  the  slanting  rays  of  the  sun  shining  through  a  rift 
in  the  clouds  form  streams  of  subdued  light  through  the 
crisp  air  of  the  early  dawn.  The  crystal  waters  of  the 
harbor  mirror  back  the  deep  blue  of  the  northern  sky,  and 
the  shadows  of  the  numerous  vessels  lying  on  its  smooth 
surface.  A  splendid  picture  of  ''The  land  of  the  midnight 
sun." 


ACTON  (J.  Adams),  Sculptor. 


B_"Marble  Bust  of  James  A.  Garfield/' 

Presented  by  Philip  Schufeldt,  New  Brighton,  Minn., 
Aug.  2,  1897. 


INDEX  AND  BIOGRAPHICAL  NOTES.  Ill 


BIERSTADT  (Albert)   New  York 

Born  at  Diisseldorf,  Germany,  1830. 
Brought  to  New  Bedford,  Massachusetts,  when 
very  young. 

Studied  at  Diisseldorf  and  Rome. 
Elected  member  of  National  Academy,  1860. 
Chevalier  of  the  Legion  of  Honor,  1867. 
^  Order  of  St.  Stanislaus,  Russia,  1869. 

Again  visited  Europe  in  1867,  1875  and  1883. 
Imperial  Order  of  the  Medjidii  from  the  Sultan  of  Turkey. 
Medals:  Austria,  Germany,  Bavaria  and  Belgium. 
In  1867  he  was  sent  to  Europe  upon  a  government  com- 
mission to  make  studies  for  a  painting  of  the  "Discovery 
of  the  North  River  by  Hendrik  Hudson."  Several  of  his 
pictures  are  owned  by  the  United  States  government. 

"The  same  careful  finish  of  detail,  skilful  management 
of  light  and  eye  for  picturesque*,  possibilities  which  made 
Bierstadt's  Old  World  subjects  so  impressive  and  suggest- 
ive, have  rendered  his  studies  of  American  scenery  full 
of  bold  and  true  significance.  He  is  not  a  mere  copyist 
of  nature,  but  an  artist  having  definite  artistic  intentions, 
and  carrying  them  out  with  care  and  resolution.  He  is 
always  trying  for  luminous  gradations  and  useful  opposi- 
tions, and  reaches  what  he  tries  for." 

— London  Saturday  Review, 

C— "Mount  Whitney." 

68x116. 

A  peak  of  the  Sierra  Nevada,  in  the  southeastern  part  of 
California,  altitude  14,522  feet.  It  is  the  highest  elevation 
in  the  United  States,  outside  of  Alaska,  On  the  east  side 
the  slope  is  precipitous,  rising  abruptly  from  Owens  Val- 
ley about  11,000  feet.    No  doubt  this  view  of  the  mountain 


112  LIBRARY  COLLECTION. 


is  from  Owens  Valley,  as  the  mountain  on  the  right  rises 
abruptly  to  a  great  altitude,  while  the  summit  is  seen  in 
the  distance.  The  sides  of  the  mountains  are  obscured  in 
a  measure  by  clouds,  yet  peak  after  peak  rise  like  sentinels 
over  the  valleys  below.  The  tall  pines  in  the  valley  give 
the  observer  some  idea  of  the  enormous  height  of  the 
towering  mountain,  and  the  melting  snow  sends  a  torrent 
down  the  side  of  the  mountain,  forming  a  small  lake  in  the 
valley  below  in  whose  waters  are  mirrored  the  splendid 
grandeur  of  its  surroundings.  This  is  one  of  Bierstadt's 
largest  and  most  important  paintings. 


BOHN  (Max), 

Born  in  Cleveland,  Ohio,  1868. 
Studied  in  Paris.    Medal  in  Paris  Salon,  1898. 
He  has  a  studio  at  Etaples,  just  outside  of  Paris. 


D — "Fisher  Folk  on  the  Beach." 

38  X  53, 

Presented  by  the  Students'  Christian  Scientist 
Association  No.  39,  1902. 
The  boats  have  been  fastened  to  their  moorings.  The 
fishermen  with  their  nets  come  up  from  the  sea  as  the 
women  and  children  give  them  a  hearty  welcome  and  aid 
in  bringing  up  the  catch  from  the  boats. 


COURTOIS   (Guglielino  Cortese)  France 

Also  called  N.  Borgognone. 
Born  at  St.  Hyppolyte  in  1628. 
Studied  in  Rome  under  Pietro  da  Cortona. 
He  did  not  follow  this  master,  however,  but  he  sometimes 


INDEX  AND  BIOGRAPHICAL  NOTES.  113 


seems  to  have  wished  to  resemble  Guercino. 
He  painted  several  notable  works. 
Died  at  Rome  in  1679. 

E — "French  Lady  in  Japanese  Costume." 

17x24. 

Presented  by  James  J.  Hill. 
AVdaughter  of  sunny  France,  clothed  in  the  flowing  robes 
of  the  Japanese.   The  dignity  of  pose  and  the  many  colors 
of  the  beautiful  drapery  make  a  very  pretty  picture. 


FOURNIER  (Alexis  J.). 

Born  at  St.  Paul,  Minn. 
Studied  at  Minneapolis  School  of  Fine  Arts  under  Douglas 
Volk  and  under  J.  P.  Laurens,  Benj.  Constant, 
Gustaf  Courtois,  Academy-Julien,  Paris,  So- 
ciety of  Western  Artists  and  Minneapolis 
Art  League. 
Now  located  at  East  Aurora,  N.  Y. 

F— "A  Sylvan  Melody." 

36x52^. 

Presented  to  the  Library  Board  by  Mrs.  Frank  H.  Peavey, 

1902. 

Late  on  a  hot  afternoon  the  shepherd  boy,  with  his  little 
flock  of  sheep,  has  selected  a  shady  spot  on  the  green  hill 
overlooking  the  field  of  yellow  grain.  The  mellow  rays  of 
the  setting  sun  are  tinted  to  a  delicate  purple  as  they 
meet  the  heated  atmosphere  near  the  earth,  and  all  nature, 
including,  the  lazy  sheep,  seems  prone  to  rest.  But  hark! 
a  sylvan  melody  comes  o'er  the  fields  and  through  the 


114 


LIBRARY  COLLECTION. 


wooded  valley,  awakening  the  whippoorwill  and  the  sleepy 
owl.  'Tis  the  magic  flute  of  the  happy  shepherd  boy  pip- 
ing a  glad  song  to  the  departing  day.  The  sunset  glory 
of  the  clouds  and  that  peculiar  haze  at  the  horizon  are 
magnificent,  while  the  whole  painting  is  well  chosen  and 
pleasingly  executed. 

GARDNER  (Elizabeth  Jane). 

Born  at  Exeter,  N.  H. 
Figure  painter.    Pupil  of  H.  Merle,  Lefebvre  and 
Bouguereau  in  Paris. 

G — **Reply  to  the  Grandson/' 

50>4  x36>^. 
Bequest  of  Mrs.  Geo.  A.  Pillsbury. 

Grandmother  having  received  a  letter  from  an  absent 
grandson  is  dictating  to  her  little  granddaughter  the  reply. 
The  yarn  reel  for  once  is  idle  and  the  old  family  clock 
slowly  ticks  the  passing  moments,  while  the  dear  old 
grandmother  tries  to  frame  one  more  encouraging  sentence 
or  add  one  more  loving  word.  Even  the  faithful  dog 
seems  to  study  the  dear  old  face  as  though  wondering  how 
those  ever  busy  hands  can  refrain  from  work  thus  long, 
and  the  granddaughter  earnestly  listens  for  the  next  w^ord 
that  she  would  have  her  write  into  the  letter. 


GUILLOU  (Alfred). 

Born  at  Concarneau  (Finistere). 
Landscape  painter;  pupil  of  Cabanel  and  Bouguereau. 


INDEX  AND  BIOGRAPHICAL  NOTES. 


115 


H— "Fishing." 

15x23. 

Presented  by  James  J.  Hill. 

The  boat  containing  the  quaint  old  fisherman  and  his 
daughter  floats  lazily  over  the  crystal  waters  of  the  lake, 
which  mirror  back  the  deep  blue  of  the  summer's  sky. 
The  old  gentleman  has  made  a  strange  catch  and,  while 
he  is  disengaging  it  from  the  hook,  the  daughter  makes  an 
earnest  inspection  of  this  peculiar  specimen  of  the  finny 
tribe. 

JACOMIN  (Marie  Ferdinand). 

Born  in  Paris,  1843. 

Died,  Aug.  3,  1902. 

Landscape  painter. 

"His  subjects  were  mostly  chosen  from  the  scenery  of 
the  environs  of  Paris;  to  all  his  works  he  gave  a  note  of 
distinction." 

— Bryan's  Dictionary  of  Painters  and  Engravers. 

I— *Xandscape." 

30x40. 

Presented  by  James  J.  Hill. 

On  the  border  of  the  woods  a  small  brook  is  almost  hid- 
den by  the  reeds  and  grasses  along  its  shores.  Through 
an  open  space  the  western  sky  is  visible,  reflecting  the 
glory  of  the  afternoon  sun.  The  sun's  rays  still  peep 
through  the  branches,  yet  the  shadows  lengthen  and  the 
twilight  will  soon  envelop  the  landscape, 


116 


LIBRARY  COLLECTION. 


KOEHLER  (Robert). 

Born  at  Hamburg  in  1850. 
Brought  to  America  in  1854. 
Genre  painter. 

Pupil  of  the  National  Academy  under  Professor  Wilniarth 
and  of  the  Art  Students'  League  under  Walter 
Shirlaw.    Afterwards  studied  in  Munich  under 
Loeftz  and  Defregger. 
Now  Director  of  School  of  Fine  Arts,  Minneapolis,  Minn. 

j_"The  Strike." 

71^x108^. 

The  scene  of  this  great  painting  is  from  a  well  known 
manufacturing  city  of  England,  and  the  painting  gains  ad- 
ditional interest  when  it  is  known  that  every  individual 
represented  was  painted  by  Mr.  Koehler  from  life,  the 
grouping  only  being  imaginary. 

The  painting  is  a  sermon  without  words,  an  artistic  re- 
buke to  present  day  methods  and  has  in  it  a  lesson  to  em- 
ployer and  the  em.ployee  alike.  The  smoking  chimneys  of 
other  factories  would  indicate  prosperous  times,  yet  we  see 
the  wives  and  children  of  this  man's  employes  ragged, 
hungry  and  cold.  He  has  given  his  men  to  understand 
that  their  appeal  for  better  pay  and  better  conditions  would 
not  be  granted,  men  who  had  worked  faithfully  at  bench 
or  forge  were  loath  to  leave  their  accustomed  places,  but 
the  poverty  and  want  of  their  families  drove  them  to  des- 
peration. 

Agitators  among  them  emphasized  their  wrongs,  and 
now  that  a  general  strike  has  been  determined  and  their 
employer  doggedly  ignores'  every  entreaty,  the  men  lose 
their  self-control  and  so  forget  their  manhood,  their  fam- 


INDEX  AND  BIOGRAPHICAL  NOTES.  117 


ilies  and  their  citizenship  as  to  resort  to  violence  and  seem 
ready  to  stain  their  hands  with  blood. 

There  is  something  radically  wrong  in  our  social  fabric 
or  these  things  could  not  be,  but  let  us  hope  that  the  night 
is  far  spent  and  the  day  will  soon  dawn  when  one  law 
shall  rule  all  classes  and  conditions  of  men  and  that  law 
will  be  the  law  of  universal  brotherhood. 

c 

NEUVILLE  (A^ohonse  Marie  de). 

Born  at  St.  Omer  (Pas-de-Calais),  May  31,  1836. 

Died  in  Paris,  May  20,  1885. 

Battle  and  genre  painter. 

He  was  the  pupil  of  Picot.    Studied  three  years  in  Ecole 
de  Droit,  Paris,  but  gave  up  law  for  art  and  soon  won 
a  place  among  the  foremost  French  military 
painters. 

K— "Storming  of  Tel-el-kebir." 

77^  X  140. 

Presented  by  James  J.  Hill. 

Tel-el-kebir  is  midway  between  Ismailia  and  Cairo, 
Egypt.  Here,  on  the  morning  of  September  13,  1882,  the 
English  armies  under  Sir  Garnet  Wolseley,  stormed  the 
entrenched  camp  of  Arabi  Pasha  on  Tel-el-kebir  hill.  The 
place  was  defended  by  about  26,000  Egyptians.  The  Brit- 
ish captured  the  stronghold  with  a  loss  of  430  killed  and 
wounded,  while  the  Egyptians  lost  1,500.  This  battle  de- 
cided the  fate  of  Egypt  and  it  has  since  been  under  a  Brit- 
ish Protectorate  or  Domination. 


118 


LIBRARY  COLLECTION. 


PASINI  (Alberto). 

Born  Sept.  3,  1826,  at  Busseto  near  Parma. 
Died  at  Cavoretto,  near  Turin,  Dec.  14,  1899. 
Genre  painter,  pupil  of  Eugenio  Ciceri,  of  E.  Isabey 

and  Theodore  Rousseau. 
"He  painted  subjects  taken  from  Turkey,  Arabia  and 
Persia,  where  he  lived  several  years.     His  treatment  is 
broad,  the  light  effects  in  his  pictures  are  often  peculiar 
and  the  aerial  perspective  especially  fine." 

— Cyclopedia  of  Painters  and  Paintings. 

L — "Constantinople." 

40  X  30. 

Presented  by  James  J.  Hill. 
In  the  foreground  is  a  market  place  where  a  group  of 
natives  are  exhibiting  their  produce  to  prospective  buyers. 
Just   outside   the   retaining  wall  is  the  Bosphorus,  while 
on  the  farther  shore  are  mosques  and  other  large  buildings. 


WALLANDER  (A.)   Holland 

M— "New  Year's  Morning.'' 

87>4x64^. 

The  first  rays  of  the  sun  turn  the  leaden  clouds  to  gold, 
dispelling  the  shadows  and  ushering  in,  not  only  anothef 
day,  but  the  beginning  of  another  year.  The  keen  air  of 
winter  has  stripped  the  trees  of  their  leaves  and  covered 
the  earth  with  a  mantle  of  snow. 

It  is  the  winter  solstice  when  all  nature  seems  to  rest, 
preparing  for  the  glorious  resurrection  and  the  life  which 


INDEX  AND  BIOGRAPHICAL  NOTES.  119 


shall  come  again  with  the  Icngthenini:^-  days  of  joyous 
spring.  The  old  couple  are  making  their  way  to  the  neigh- 
boring church  to  offer  a  thanksgiving  for  the  old  year  past, 
and  a  blessing  for  the  year  just  dawning. 

The  old  lady  carries  her  bible  or  prayer  book,  while  the 
philosophic  old  gentleman  carries  an  umbrella,  fearing  a 
sudden  change  in  the  weather. 

A  pleasing  subject,  well  executed. 
V 

WAGNER  (Alexander). 

Born  in  Pesth,  April  16,  1838. 
History  and  genre  painter. 
Pupil  in  Munich  of  Piloty. 

N— "The  Gates  of  Justice,  Granada." 

48  X  32. 

Presented  by  James  J.  Hill. 

Granada  is  a  city  in  the  south  of  Spain,  the  capital  of 
the  province  of  Granada.  The  streets  rise  picturesque 
above  each  other  with  a  number  of  turrets  and  gilded  cupo- 
las, the  whole  being  crowned  by  the  Alhambra,  or  palace 
of  the  Ancient  Moorish  kings.  It  is  a  walled  city  and  the 
painting  shows  one  of  the  gates  into  the  city.  It  has  a 
population  of  73,000. 

WITT  (John  Harrison). 

Born  in  Dublin,  Wayne  County,  Ind.,  May  21,  1840. 
Genre  and  portrait  painter. 
Began  to  study  art  in  Cincinnati  in  1862. 


120 


LIBRARY  COLLECTION. 


O 


The  Widow's  Christmas. 

45  X  35. 
Loaned  by  Exposition. 


As  the  winter's  sun  dips  low  in  the  west  and  the  shad- 
ows deepen  in  the  valleys,  the  widow  with  her  two  children 
gather  evergreens  for  Christmastide.  On  the  snow-capped 
hill  the  wind  blows  bleak  and  cold,  yet  the  children  take 
deep  interest  in  the  work  at  hand  and  little  realize  the 
pangs  of  sorrow  in  the  mother's  heart.  This  great  sorrow 
must  not  come  to  her  loved  ones,  and  although  the  mor- 
row must  of  necessity  be  somewhat  of  a  disappointment  to 
them,  yet  she  bends  every  effort  to  make  their  hearts  glad 
that  they  may  not  recall  the  happy  Christmas  of  only  one 
short  year  ago. 


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